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MILTON -S 
SHORTER POEMS 

HOMER 

HIGH SCHOOL ENGLISH 
CLASSICS 




UNION BOOK COMPANY 
CHAUTAUQUA. NY. 



HIGH SCHOOL ENGLISH CLASSICS 

M I LION'S 
SHORTER POEMS 



EDITED BY 



FRED LeROY homer, A.M. 

Teacher of English in the 
Pittsburgh Central High School 




UNION BOOK COMPANY, 
Chautauqua, New York. 






Copyright, 1913 

by 

Fred LeRoy Homer 






©CI.A343759 



PREFACE 

The aim of this edition of Milton's Shorter Poems is, 
primarily, to supply the pupil, by means of notes and questions, 
the necessary information and stimulus for the understanding 
of the poems studied. No attempt has been made to produce 
a learned book. There is already an abundance of such 
editions of Milton ; and the present editor does not believe 
that the apparatus of the scholar is necessary or even desir- 
able for the high school pupil. Consequently there are few 
references to other authors, and the necessary explanations 
are made as brief as possible. That the pupil may be helped 
as much as possible, the notes are put at the bottom of the 
page where they will be immediately available ; and many 
questions are inserted to stimulate thought and enable the 
student to work out the meaning for himself. 

The teacher has also been kept in mind. The questions 
at the bottom of the page, primarily for the pupil, will suggest 
many other questions to bring out the meaning of the text ; 
the questions at the back of the book will suggest ways of 
bringing out the larger aspects of the poems as to form and 
subject matter; while the outlines will serve both teacher 
and pupil as a convenient framework for study of the relations 
of the different parts of each poem. 

The editor assumes that the teacher will be familiar 
with other editions of these poems. Huntington's (Ginn & 
Co.), Neilson's (Scott, Foresman & Co.), and Trent's (Long- 
man, Green & Co.) editions are especially useful and have 
been referred to freely in preparing this edition. One sug- 
gestion has been taken from Parrott and Long's "English 
Poems from Chaucer to Kipling." Of the complete editions 
of Milton's English poems, Masson's. the so-called standard, 
is too conjectural in its notes to be trusted. Browne's 
(Clarendon Press Series) is perhaps as satisfactory as any 
other. 



MILTON'S LIFE 

There are two good reasons why a person should wish 
to know something about the life of an author whose works 
are being studied. The first reason is the natural curiosity 
which one feels concerning the life of a man who has done 
something remarkable. The second, is the increased under- 
standing and appreciation of an author's works which may 
be gained by a knowledge of the circumstances of his life. 
We can understand the tales of Hawthorne better when we 
learn about his strange, abnormal boyhood in Puritan New 
England ; and we can appreciate "Huckleberry Finn" better 
for knowing that Mark Twain spent his early life near the 
Mississippi River. In other words, the lives of both these 
men are reflected in their writings. So the life of Milton 
influenced his works and for this reason a short sketch of his 
life may help to a better appreciation of his poetry. Only 
the main facts of his life, the things that affected his writings, 
will be touched upon in this brief account. 

Milton's life naturally divides itself into three periods, 
early, middle, and later life. The first was a period of growth 
and retired leisure; the second, of active public life; the 
third, of forced and rather unhappy retirement. And his 
literary life may also be divided into the same three periods : 
the early period of his shorter poems, the middle period of 
his prose, and the later period of his longer poems. We 
shall study his life and works in each of these three periods. 

Early Life and Early Poems (1608- 1640) 

LIFE 

First of all, we should remember that Milton's early 
life was spent in a great city. He was born in Bread Street, 
London, December 9, 1608, and spent practically all of his 
time in the city until he was sixteen years of age. Shakes- 
peare was still living in London during Milton's childhood 
and Milton may have seen the great dramatist. Recent 
investigations have shown that Shakespeare probably went 
past Milton's home on his way to and from the Globe Theater. 
This is interesting, but it is more important to note that 
Milton was not, like Shakespeare, a country-bred boy ; that 
he did not, as Shakespeare did, grow up among country 
sights and sounds and birds and flowers. Consequently 
Milton never learned these things as intimately as Shakes- 
peare did. He seems to have learned about nature first from 
books rather than from observation and this may account 



MILTON'S LIFE S 

for a certain flavor of bookishness which critics have found 
in Milton's treatment of nature. 

In the second place, Milton's parents were well-to-do 
Puritans. His father was what was then called a scrivener, 
that is, a professional writer of legal documents, somewhat 
like our notary public. He was a well educated man, es- 
pecially fond of music and a considerable musician. This 
love of music and the musical atmosphere of the home may 
partly account for John Milton's becoming a poet. It cer- 
tainly accounts for his becoming an accompHshed musician. 

Being fairly wealthy, Milton's parents were able to give 
him the best possible education. He had tutors at home and 
was prepared for college at the famous St. Paul's School. 
Since the family was Puritan, Milton naturally went to 
Cambridge University, which has always been, in a general 
way, the university of the so-called middle class, as Oxford 
has been the university of the nobility. (It is worth noting 
that of the greater English poets, only two, Arnold and 
Shelley, have attended Oxford. Spenser, Ben Jonson, Mar- 
lowe, Milton, Dryden, Gray, Wordsworth, Coleridge, Byron 
and Tennyson have all been Cambridge men.) Milton entered 
Christ's College in 1625 and remained until 1632, takmg both 
the A.B, and the A.M. degrees. At college he was dis- 
tinguished for his handsome personal appearance, his purity 
of life, and his brilliant scholarship. He had already deter- 
mined to become a great poet and strove to fit himself for 
his vocation. By the time Milton left college his father 
had retired from business and had settled on a country estate 
at Horton, a village about twelve miles west of London. 
Milton now went to Horton and for six years devoted himself 
to further study, interrupted occasionally by the writing of 
poems. To complete his education he started on a tour of the 
continent in 1638, He went through France and Italy, as 
far as Naples. Everywhere he was cordially received by the 
famous and learned men of the time. One of the great men 
he visited was the famous Galileo. But while abroad, Milton 
heard rumors of trouble at home between the king and 
parliament and he decided to return home at once, since, as 
he says, "I thought it base to be travelling at my ease for 
intellectual culture, while my countrymen at home were fight- 
ing for liberty." By August, 1639, he was back in London. 



6 MILTON'S LIFE 

EARLY WORKS 

Milton's first important work was written while he 
was still at Cambridge. This was the "Hymn on the Morning 
of Christ's Nativity," one of the greatest Christmas poems 
in the English language. While at Horton, Milton wrote 
his four best-known shorter poems, L' Allegro, II Penseroso, 
Comus, and Lycidas. The first two are supposed to have 
been written about the year 1632 ; Comus was acted in the 
fall of 1634; and Lycidas appeared in 1637. Since these 
four poems are discussed in this book it is not necessary to 
say anything more about them at present. 

Middle Life and Prose Works (1640-1660) 

LIFE 

In order to understand the middle period of Milton's 
life it is necessary to have a clear idea of the political and 
religious conditions in England at this time. Charles I 
had come to the throne in 1625 and by 1640 he had become 
intensely disliked and distrusted by a large number of his 
subjects. His harsh enforcement of the laws requiring re- 
ligious uniformity, and the cruelty of Laud, archibishop 
of Canterbury, alienated the Puritans and drove many of 
them to New England and others, later, into rebellion. The 
king's arbitrary political rule, his attempt to collect un- 
constitutional taxes, aroused the opposition of those who 
loved liberty and cared for a free government. In general, 
these lovers of political liberty were also Puritans desirous 
of religious liberty. The two causes of dissatisfaction united 
the Parliament against the king and in 1642 Civil War broke 
out. The king was finally defeated by the Parliamentary 
forces under Oliver Cromwell, was tried for treason and 
finally, in 1649, beheaded. A republic, called the Common- 
wealth, was established. This later became a sort of mon- 
archy with Cromwell as ruler with the title of Lord Pro- 
tector. Finally, after the death of Cromwell, Charles II, 
the exiled son of Charles I, became king in 1660. This is 
known as "The Restoration" i.e., the restoration of the old 
line of kings. 

With his return from abroad, a new phase of Milton's 
life began. Hitherto, supported by his father, he had lived 
the quiet, happy life of a secluded poet. He now plunged 
into the active, tempestuous, increasingly public life of a 
man of affairs. He settled in London and began tutoring 
private pupils ; became interested in teaching and wrote a 
famous Tractate on Education ; married a woman who 
presently left him, wrote several articles in favor of divorce 



MILTON'S LIFE 7 

■and was later reconciled with his wife; gradually took a 
more prominent part in the discussion of public questions, 
defended the execution of Charles I, and was finally, in 1649, 
appointed "Secretary of Foreign Tongues" under the new 
Commonwealth. It was his duty to carry on the corres- 
pondence between the English government and foreign gov- 
ernments and he was also a sort of ofificial defender of the 
Commonwealth. In his latter capacity he wrote his famous 
Pro Poptilo Anglicano Defensio in reply to Salmasius, a 
Dutch scholar who had condemned the execution of Charles I. 
Milton's "Defense of the English People" brought him great 
fame throughout Europe as a debater, but it cost him his 
eyesight. He had been warned that continued use of his 
eyes in reading and writing would mean blindness, but his 
devotion to the cause of liberty was so great that he took 
the risk and in 1652 became totally blind. So when Milton 
writes in L'Allegro, 

"And in thy right hand lead with Thee, 
The mountain nymph, sweet Liberty," 

we may be sure that he really feels the respect for liberty 
which his words imply. Though blind, Milton retained his 
public office during the life of Cromwell. 

WORKS 

During this period of busy public and private life, Milton 
found little time for poetry. He did, indeed, write an occa- 
sional sonnet, the most famous of all of these being, the one 
"On His Blindness." But most of his writing during these 
troublous years was prose, both in English and in Latin. 
Greatest of all these prose works was his "Areopagitica, or 
"a Speech for the Liberty of Unlicensed Printing." This was 
written in English and was addressed to the English Parlia- 
ment. The title was suggested by the Areopagus, or Mars 
Hill, in Athens, where entire freedom of speech was allowed 
(see Acts 17.. 16-21). It is one of the noblest pleas in the 
language for what we now call "the freedom of the press." 



Later Life and Longer Poems (1660-1674) 

LIFE 

With the Restoration, Milton's life was again greatly 
changed. Since he had defended the execution of Charles I, 
he was naturally in disfavor with the government of 
Charles II. For a time his life was in danger but it was 
finally spared and he was allowed to live in retirement, com- 
paratively poor and almost completely ignored by people of 
power and irvfluence. Gradually the feeling of hostility 



8 MILTON'S LIFE 

towards him relaxed somewhat and with his increasing 
reputation as a poet he was occasionally visited by dis- 
tinguished men, so that his last years were a little happier. 
He died November 8, 1674 and was buried in St. Giles' 
Church, London, where his tomb may still be seen. 

WORKS 

In spite of his blindness, Milton was able, during these 
years of forced retirement, to carry out the dream of his 
youth and write a great epic poem. Paradise Lost was begun 
before the Restoration. It was finished in 1665 and the first 
edition appeared in 1667. For this first edition of 1,300 copies 
Milton received £5, for a second edition another £5, and 
his widow accepted £8 in discharge of all further claims. 
Paradise Lost, perhaps the greatest epic poem in the lan- 
guage, tells the story of the "fall of man," that is, the 
temptation of Adam and Eve, their yielding to the tempta- 
tion, and their consequent expulsion from the Garden of 
Eden. In 1670 Milton published Paradise Regained and 
Samson Agonistes, his two last poems. The first of these 
is an epic poem telling the story of the Temptation of Jesus 
in the Wilderness ; the Agonistes is a tragedy imitating 
classical Greek dramas in form and presenting the last day 
in the life of the Biblical hero, Samson. Milton, blind, 
disgraced, practically a captive in the hands of his enemies, 
probably felt himself another Samson fighting an apparently 
hopeless battle, so we can readily see why the subject 
appealed to him. 

We have noted the chief facts concerning Milton's life 
and works. In conclusion let us recall two characteristics 
of the great man and great poet : One is his unselfish devo- 
tion to the cause of liberty; the other his life-long, though 
interrupted, devotion to his vocation of poet, a devotion 
that inspired long and careful preparation for his great 
work. A careful study of his works will reveal abundant 
evidences of both these characteristics. 



L'ALLEGRO AND IL PENSEROSO 

[L'Allegro and II Penseroso are companion poems and 
should be read and studied together. They represent two 
ttpes of character, or, more probably, two moods of the 
same character, that is, of Milton himself. 

The titles are Italian words meaning respectively 
"The Cheerful (Man)" and "The Thoughtful (Man)." "The 
Social Man" and "The Solitary Man" are titles which fairly 
well describe the two characters. It must not be supposed 
that the "thoughtful" or "pensive" man is "melancholy" in 
the sense of "gloomy." He enjoys solitude, ^ as the social 
man enjoys society. Indeed, the two poems might well have 
been called, "The Pleasures of Society" and "The Pleasures 
of Solitude." 

Note that the first ten lines of each poem, differing in 
form from the remainder, are much alike in structure and 
phrasing. This similarity in the introductions is only one 
of the many similarities and contrasts in the two poems. 
They begin with the first lines and end with the last ones. 
Find them. The outHnes in the back of the book will be of 
assistance in getting a clear idea of the contents of each 
poem and will also serve to bring out the contrasts. The 
outlines should be completed.] 



UALLEGRO. 



Hence, loathed Melancholy, 

Of Cerberus' and blackest Midnight born' 

In Stygian cave forlorn, 

'Mongst horrid shapes, and shrieks, and sights unholy !' 

Find out some uncouth* cell, 5 

Where brooding' Darkness spreads his jealous wings, 
And the night-raven^ sings ; 

There, under ebon shades and low-browed rocks. 
As ragged^ as thy locks 

In dark Cimmerian* desert ever dwell. lo 

But come, thou goddess fair and free," 
In heaven ycleped" Euphrosyne, 

^ The three-headed dog guarding the entrance to the lower 
world. His den was on the farther side of the river Styx ; 
hence the "Stygian cave." 

^ What qualities would Melancholy inherit from Cerberus 
and Midnight? 

^ Note the alliteration. What sound is repeated and why? 

* Literally "unknown ;" hence "dismal, terrifying." 

" Brooding seems to have two meanings : "hovering as a 
bird," and "meditating gloomily." Of what is Darkness 
jealous? 

' Accurately speaking, there is no night raven. The raven 
is not a night bird. But the night-raven was a common bird 
in literature. Both Spenser and Shakespeare use the term. 
The raven was a bird of ill omen (cf. Poe's "Raven") and 
the word night was probably used with reference to its black 
color and with the idea of making it sound more ominous. 

' Rugged, shaggy. 

* In the Odyssey the Cimmerians are said to dwell in a land 
"shrouded" in "mist and cloud" and "deadly night." 

' "Fair and free" was a conventional phrase applied to beau- 
tiful women. The "red as a rose" of the Ancient Mariner is 
a similar phrase. 

" Called. From the Anglo-Saxon "clepean," to call. The 
earliest form of the past participle was "ge-clept." This ge 
prefix is retained in modern German. In English it was 
chaneed to i or y and finally dropped entirely in nearly all 
words. 

II 



12 L' ALLEGRO 

And by men heart-easing Mirth j 

Whom lovely Venus/ at a birth, 

With two sister Graces' more, 15 

To ivy-crowned Bacchus bore: 

Or whether (as some sager sing)' 

The frolic wind that breathes the spring, 

Zephyr, with Aurora playing, 

As he met her once a-Maying,* 20 

There, on beds of violets blue. 

And fresh-blown roses washed in dew, 

Filled her with thee, a daughter fair, 

So buxom,^ blithe, and debonair/ 

Haste thee, Nymph,' and bring with thee 25 

Jest, and youthful jollity, 
Quips, and cranks, and wanton wiles,* 

^ The goddess of love. Bacchus was the god of wine. 

^ The three Graces of classical mythology were Euphrosnye 
(mirth), Aglaia (brightness), and Thalia (bloom). 

^ There is a change in the construction. The passage seems 
to m.ean : "I do not know whether the foregoing genealogy 
is correct, or whether, as some wiser poets say," etc. Milton 
himself is probably the "sager" poet referred to. In making 
Mirth the child of Zephyr (the West Wind) and Aurora 
(the Dawn) rather than Venus and Bacchus, Milton indicates 
that the kind of mirth he prefers is the outcome of whole- 
some, outdoor pleasures rather than of voluptuous revelry. 

* Gathering flowers, especially the hawthorne or may, to cel- 
ebrate May Day. The form a-Maying, is similar to our a-fish- 
ing. The a is the shortened form of the preposition on. 

^ Buxom originally meant "yielding, obedient ;" then "gay 
and lively," as it seems to mean here. At present it means 
"robust and lively." 

® With a pleasant bearing or manner. (French, de bon air). 

' Why is Mirth called a nymph? 

'A quip is a short, sharp speech; a crank, a humorous twist 
or turn of speech ; wanton wiles are merry tricks. 



L'ALLEGRO I3 

Nods and becks' and wreathed smiles, 

Such as hang on Hebe's' cheek 

And love to live in dimple sleek; 30 

Sport that wrinkled Care derides," 

And Laughter holding both his sides." 

Come, and trip it as you go 

On the light fantastic toe ;" 

And in thy right hand lead with thee 35 

The mountain-nymph, sweet Liberty f 

And, if I give thee honour due, 

Mirth, admit me of thy crew. 

To live with her, and live with thee' 

In unreproved* pleasures free: — 40 

To hear' the lark begin his flight, 
And, singing, startle the dull night. 
From his watch-tower in the skies, 

^ Bows, beckonings. 

^ The cupbearer of the gods and the embodiment of eternal 
youth. 

' What is the grammatical construction of "Sport," of "that" 
and of "Care"? Does a person full of care deride or laugh 
at sport? 

* Don't miss the emphasis on "both." 

^ LI. 33-34. Notice how these lines skip and dance. Why 
"fantastic toe"? 

* LI. 35-36. Note the stately, dignified movement of these 
verses, in contrast with the tripping of the two preceding. 
Give a reason. Why is Liberty called a "mountain-nymph" 
and why is she placed on Mirth's right hand? 

'Who is meant by "her," and who by "thee?" 

* Irreproachable, blameless. 

® In the same construction as "to live." Here begins the 
Social Man's "ideal" round of pleasures. What is the time of 
day? The lark is the European skylark, quite different from 
our American meadow lark. The skylark begins to sing as 
it rises from the ground and continues singing as it mounts 
in the air, frequently so high as to be invisible though still 
audible. It is a bird of the fields and does not come about 
houses. Read Shelley's "Ode to a Skylark." 



14 L'ALLEGRO 

Till the dappled dawn doth rise; 

Then to come, in spite of sorrow/ 45 

And at my window bid good-morrow, 

Through the sweet-briar or the vine/ 

Or the twisted eglantine / 

While the cock, with lively din, 

Scatters the rear of darkness thin/ 50 

And to the stack, or the barn-door, 

Stoutly struts his dames before / 

Oft listening how the hounds and horn 

Cheerly rouse the slumbering morn, 

From the side of some hoar^ hill, 55 

Through the high^ wood echoing shrill; 

Sometime walking, not unseen/ 

By hedgerow elms, on hillocks green. 

Right against^ the eastern gate, 

^ A much discussed passage. The simple and natural mean- 
ing seems to be that the Social Man, after hearing the lark, 
rises and, going to his window, looks out and bids good- 
morrow to the world in spite of, that is, notwithstanding any 
sorrow he may have had previously. Other interpretations 
are (i) that the lark comes to the window (see note on lark) ; 
(2) that the Social Man approaches the window from the 
outside; and (3) that "in spite of" means "in defiance of." 
What may be said for or against each of these four interpre- 
tations? 

^ The grape vine is probably meant. 

^ Eglantine is another name for the wild-rose or sweet-briar, 
whose stalk is not twisted. Milton may have meant the 
honeysuckle. 

* Darkness seems to be thought of as a retreating army. 

^ Scan lines 51-52. Note the irregularity of the first line 
and the regular strutting movement of the second, 

* May mean "white with frost" or "gray with mist" or "old." 
Which? 

^ Probably means "free from underbrush." 

*Cf. "I walk unseen," II. Pens., 1. 65. Why the difference? 

® Modifies "walking" and is equivalent to "straight towards." 



L' ALLEGRO 15 

Where the great sun begins his state/ 6a 

Robed in flames and amber Hght, 

The clouds in thousand Hveries dight ;' 

While the ploughman, near at hand, 

Whistles o'er the furrowed land,' 

And the milkmaid singeth blithe, 65 

And the mower whets his scythe. 

And every shepherd tells his tale* 

Under the hawthorn in the dale. 

xx.uM^^^^^^' ^^^^ ^^^ ^^^^ caught new pleasures. 
Whilst the landskip' round it measures: 70 

Russet lawns, and fallows gray,' 
Where the nibbling flocks do stray ; 
Mountains, on whose barren breast 

'^ "Stately progress" or condition of pomp and magnificence 
The clouds are thought of as servants arrayed (dight) in 
garments dehvered to them. Note the kind of morning the 
bocial Man enjoys. 

Try^it" "°" ''""'"^^^ imagine or recall these morning sounds? 

nflh'^ '' n""""^ explained as meaning "counts his number" 
of sheep. Our modern words "bank-teller" and "tally" make 
dear these old meanings of "tell" and "tale." But "tellT his 
tale strongly suggests telling a story. In the "Hvmn nn fhl 
s'heXLr' ^'^'^'^ ^^^tivity'^Il. SS-I2) UntonllZZ tt 

"Or ere the point of dawn. 

Sat simply chatting in a rustic row." 

Again would English shepherds count their sheen in ,h^ 
morning? Deci^de which interpretation you think is the ri^ht 
one and be ready to give your reasons *•" 

th:°gi:sca?co;' trfe:, ii^n^dsiir-^-^*'^-^ ^''^' '^ 

un'so:rpiou'gired''iand" ""''''" "'"^ 'l^-' ^-^^ /'"'«-- 



i6 UALLEGRO 

The labouring' clouds do often rest; 

Meadows trim, with daisies pied/ 75 

•Shallow brooks, and rivers wide ; 

Towers and battlements it sees' 

Bosomed* high in tufted trees, 

Where perhaps some beauty lies," 

The cynosure^ of neighbouring eyes. 80 

Hard by, a cottage chimney smokes 
From betwixt two aged oaks, 
Where Corydon and Thyrsis met,^ 
Are at their savoury dinner set 

Of herbs and other country messes, 85 

Which the neat-handed Phyllis dresses ; 
And then in haste her bower she leaves, 
With Thestylis to bind the sheaves ; 
Or, if the earlier season -lead/ 

^ Parrott and Long define this as "slowly moving;" Trent as 
"big with rain." Perhaps both ideas are implied but the 
latter seems suggested by the word "barren" in the pre- 
ceding line. 

^ Variegated ; from magpie, a conspicuously black and white 
bird. 

^ Windsor Castle is about four miles west of Horton and 
A'ery probably Milton had it in mind when he wrote this line. 

■* Situated among, showing above. 

^ Dwells, lodges. 

' Literally "dog's tail," a term applied to the North or Pole 
Star because it is the end star in what is now regarded as the 
handle of the Little Dipper (constellation "Ursa Minor"), but 
was formerly regarded as the tail of a dog (Gr. kunos ; Latin, 
canis). The old Phoenician sailors steered by the North Star, 
so the word "cynosure" came to mean "the thing looked at, 
"the center of attraction." 

' Corydon, Thyrsis, Thestylis, and Phyllis are common names 
for country people, especially shepherds, in Greek and Latin 
pastoral poetry. They are here used as general names for 
<:ountry folk. 

* Notice that it is not an actual twenty-four hours that is 
"being described, but rather an "ideal" round of pleasures. 



L'ALLEGRO 17 

To the tanned' haycock in the mead. 90 

Sometimes, with secure' dehght, 
The upland"* hamlets will invite, 
When the merry bells ring round, 
And the jocund rebecks"* sound 

To many a youth and many a maid 95 

Dancing in the checkered shade,' 
And young and old come^ forth to play 
On a sunshine holiday, 
Till the livelong daylight fail : 

Then to the spicy nut-brown ale,' 100 

With stories told of many a feat : 
How^ fairy Mab' the junkets eat; 

^ Turned brown by the sun, "cured," as country folk say. 

^ In the Latin and original English sense of "free from 
care" (Latin sccurus.) 

■* Probably here means "remote from towns." 

* The earHer form of the violin. 

"Can you picture to yourself the "checkered shade?" 

* We may consider come a past participle. "Young and old" 
would then be in the same construction as "youth" and 
"maid" in 1. 95. Or we may supply another zvhen before 
"3^oung" and consider come an indicative. 

' People used to flavor ale and wine with nutmeg and other 
spices. Nut-brozvn was a somewhat conventional adjective. 
Cf. the old ballad, "The Xut-Brown Maid." 

* Mab is sometimes spoken of as the queen of the fairies. 
She looked after households, punishing untidy maids by 
eating their dainties or by pinching and pulling them in their 
sleep. Shakespeare's description of her, in Romeo and 
Juliet, I, 4, 53-95, is too long to quote but should be read. 
Junkets were originally a kind of cream cheese which were 
wrapped in rushes (Italian, giunco). Here the word may 
mean something like "cottage cheese" or simply "dainties" in 
general. 



i8 L'ALLEGRG 

She was pinched, and pulled, she said,' 

And he, by friar's lantern' led. 

Tells how the drudging goblin sweat 105 

To earn his cream-bowl duly set. 

When, in one night, ere glimpse of morn. 

His shadowy flail hath threshed the corn 

That ten day-labourers could not end ; 

Then lies him down, the lubber fiend,^ no 

And, stretched out all the chimney's length 

Basks at the fire his hairy strength, 

And, crop-full, out of doors he flings. 

Ere the first cock his matin rings/ 

Thus done the tales, to bed they creep,' 115 

By whispering winds soon lulled asleep. 



^ The "she" and "he" of this and the next line mean this 
and that individual in the company who tells of her or his 
adventures. 

" Probably refers to the ignis fatiius, the misleading light 
of burning gases popularly known as "Will-o'-the-Wisp" and 
^'Jack-o-Lantern ;" or it may possibly refer to the "drudging 
goblin" of the next line. This "goblin" is Robin Goodfellow, 
the Puck of Midsummer Night's Dream and of Mr. Kipling's 
"Puck of Pook's Hill" and "Rewards and Fairies," the most 
celebrated and according to Mr. Kipling the only surviving, 
English fairy. One of the men tells how Puck, in payment 
for the bowl of cream regularly or properly set out for him, 
threshed more grain (wheat, oats or barley, not maize) in 
one night with his fairy threshing stick than ten men could 
have done in the same time. He then sleeps on the hearth 
till dawn, when with a full stomach (cropful) he hastens 
into hiding. All spirits were supposed to be abroad only 
between curfew and cockcrow. 

^Clumsy, awkward; not devil. 

* Literally, "rings the bell for morning service," /. e., crows. 

^ Why are the country people said to creep to bed? 



UALLEGRO 19 

Towered cities please us then/ 
And the busy hum of men, 
Where throngs of knights and barons bold, 
In weeds'" of peace, high triumphs^ hold, 120 

With store of ladies, whose bright eyes 
Rain influence,* and judge the prize 
Of wit or arms, while both contend 
To win her^ grace whom all commend. 
There let Hymen^ oft appear 125 

In saffron robe, with taper clear, 

^ The rest of the poem has been considered by some editors 
an account of the Social Man's reading during the remainder 
of the evening rather than a recital of actual experiences. 
This interpretation may be due, first, to the fact that no means 
are provided for transporting L' Allegro from the country to 
the town. But as has been pointed out, the author is not re 
counting the events of any one day but rather a round of 
"ideal" pleasures suitable to different hours of the day ; so 
the sudden transition to pleasures of the city presents no 
difficulties. A second reason for thinking that these lines 
refer to reading, is the kind of amusements described. It is 
agreed that in lines 125-130 Milton is describing the gorgeous 
masques, such as his own Comus, so popular just at that 
time; but in lines 1 19-124 he seems to be describing medieval 
tournaments and poetical contests such as no longer existed 
in Milton's time. But may not these lines also refer to 
masques in which there are representations of the medieval 
contests? The "where" of line 119 and the "there" of line 
125 seem to refer to the same place; and lines 131-132 cer- 
tainly imply that L' Allegro is in the city in person, not merely 
reading about the city. 

^ Cf. "widow's weeds," /. e., clothes. 

^ Pageants, public festivities or exhibitions. 

* Used in the original English sense of "power of the 
stars." The ladies' eyes are thought of as stars. 

^ The queen of the contest. Cf. the tournament in Ivanhoe. 

* The god of marriage, frequently introduced into masques. 
In Ben Jonson's "Masque of Hymen" he is represented as 
dressed in a saffron (yellow) robe and carryinsr a torch. 
Shakespeare introduces Hymen in "As You Like It" V, 4. 



20 L'ALLEGRO 

And pomp, and feast, and revelry, 

With mask and antique pageantry ; 

Such sights as youthful poets dream* 

On summer eves by haunted stream. 130 

Then to the well-trod stage anon. 

If Jonson's learned sock be on,^ 

Or sweetest Shakespeare, Fancy's child, 

Warble his native wood-notes wild. 

And ever,^ against eating cares, 135 

Lap me in soft Lydian* airs, 
Married to immortal verse,^ 

^ Milton himself was just then dreaming such dreams, as is 
evident from these poems and from Conius. Was Milton a 
very strict Puritan at this time of his life? 

^ If one of Jonson's learned "classical" comedies is playing 
("on the boards") at the theater. The sock was the low- 
heeled shoe worn by the actors of comedy in the ancient 
Greek and Latin plays. The buskin was the corresponding 
high-heeled shoe worn by actors of tragedy. The words 
had come to mean "comedy" and "tragedy" respectively. Of 
course, the actual socks and buskins were not worn in Milton's 
time. Notice that Jonson's plays are called "learned," while 
Shakespeare is referred to as a bird warbling "native" wild 
notes. This suggests the opinion, common in Milton's time, 
that Jonson, trained in the classics, knew how to write cor- 
rect, i. e., "classical," plays ; while Shakespeare, though possess- 
ing great genius, wrote rather crude, irregular "romantic" 
plays. 

' What evidence do you find in L'Allegro and II Penseroso 
that Milton was fond of music? 

* The ancients recognized three types of music, Dorian, 
Phrygiai) and Lydian. The first was stately and majestic; 
the second, bright and lively ; the third, soft and sweet. The 
Lydian measure seems to have been used for love songs. Cf. 
Dryden's "Alexander's Feast." 

"Softly sweet, in Lydian measures. 
Soon he soothes his soul to pleasures." 

^ The music so suited to the beautiful poetry that words 
and music seem married. Can you name such songs? 



L'ALLEGRO 21 

Such as the meeting soul may pierce/ 

In notes with many a winding bout" 

Of Hnked' sweetness long drawn out, 140 

With wanton heed and giddy cunning/ 

The melting voice through mazes running, 

Untwisting all the chains that tie 

The hidden soul of harmony;' 

That Orpheus" self may heave his head, 145 

From golden slumber on a bed 

Of heaped Elysian' flowers, and hear 

Such strains as would have won the ear 

Of Pluto to have quite set free 

His half-regained Eurydice. 150 

These delights if thou canst give, 

]\Iirth, with thee I mean to live." 

' Such as may penetrate the responsive soul. Pierce was 
then pronounced perse. It still is so pronounced sometimes, 
as a proper name. 

Compare these lines with the corresponding passage in 
II Penseroso (LI. 155-165.) 

Is the music L'AUegro hears vocal or instrumental? Is it 
secular ("worldly") or religious? "Twist or turn. 

^ VVhy linked f What does the whole famous line describe? 

* Notice the apparent contradiction between the adjectives 
and the nouns. Which describe the appearance and which 
the reality? 

" The soft voice is first said to run through intricate pas- 
sages (mazes), and then, changing the figure, to release the 
soul of harmony by untying the chains by which it is bound. 

Accordmg to classical mythology, the musician Orpheus 
descended to Hades (Pluto's realm) to regain his lost (dead) 
wife, Eurydice. He played such sweet music that Pluto con- 
sented to release Eurydice on condition that Orpheus would 
not look at her until he was out of Hades. He looked when 
nearly out and so lost her. The whole pathetic story is 
practically told in these lines and in lines 105-109 of II 
Penseroso. That=zso that. 

8 2^ E^ys^""^' the classical equivalent of Paradise. 
Compare these lines with the closing lines of II Penseroso 
Which of the two, Mirth or Melancholy, does Milton seem 
to have the greater confidence in? 

V 



IL PENSEROSO 



Hence, vain deluding Joys, 

The brood of Folly without father bred! 
How little you bestead/ 

Or fill the fixed' mind with all your toys!^ 
Dwell in some idle brain, 5 

And fancies fond* with gaudy shapes possess,' 
As thick and numberless 

As the gay motes that people the sunbeams, 
Or likest^ hovering dreams. 

The fickle pensioners^ of Morpheus'^ train. 10 

But hail, thou goddess sage and holy, 
Hail, divinest Melancholy ! 
Whose saintly visage is too bright 
To hif the sense of human sight, 
And therefore to our weaker view" 15 

O'erlaid with black, staid Wisdom's hue ; 
Black, but such as in esteem 
Prince Memnon's sister might beseem," 
Or that starr'd Ethiop queen'' that strove 

- ^ Profit, help. ^ Alind fixed upon serious things ; opposed 
to the "idle brain." 

^ Trifies. * Foolish fancies. ^ What is the grammatical 
subject of "possess?" 

^ Old superlative of like. The shapes are most like dreams. 

^ Attendants. Queen Elizabeth established a select guard of 
handsome young men called pensioners and the word became 
common as a term to describe a monarch's retinue. ^ The 
god of sleep. 

^ Agree with. Compare with our slang phrase, "They didn't 
hit it off well together." ^''Weaker than what? 

" Though dark-complexioned, Melancholy is still of such 
beauty as would be fitting for a sister of Memnon, an Ethiop- 
ian piince who took part in the Trojan war and whom Ulysses 
referred to as one of the handsomest of men. 

" Cassiope, who, with her daughter Andromeda, was placed 
among the constellations (hence "starred"). 

22 



IL PENSEROSO 23 

To set her beauty's praise above 20 

The Sea-Nymphs, and their powers offended. 

Yet thou art higher far descended :^ 

Thee bright-hair'd Vesta'' long of yore 

To soHtary Saturn bore ; 

His daughter she — in Saturn's reign 25 

Such mixture was not held a stain. 

Oft in glimmering bowers and glades 

He met her, and in secret shades 

Of woody Ida's^ inmost grove, 

While yet there was no fear of Jove, 30 

Come, pensive nun, devout and pure. 

Sober, steadfast, and demure,* 

Air in a robe of darkest grain,* 

Flowing with majestic train. 

And sable stole of cypress lawn" 35 

Over thy decent'^'shoulders drawn. 

Come, but keep thy wonted state. 

With even step and musing gait,'* 

' Melancholy is descended, not from kings and queens, but 
from gods. 

^ Vesta was the goddess of the hearth and promoter of 
purity ; Saturn, the god of culture and promoter of civiliza- 
tion. The -. eign of Saturn, before he was overthrown by 
his ^on, Jove, was the fabled golden age. According to 
astrology the influence of Saturn made men melancholy. 
Milton seems to have in mind both ideas. He invented this 
parertage for Melancholy, just as he invented the second 
parentage for Mirth. 

^ A mountain in Crete where Jove was brought up. 

■* Cf. "buxom, blithe, and debonair."' ^ Compare our phrase„ 
"'.]// dressed up." * Color, probably daik purple. 'Black veil 
or hood of tine crape linen. 

* Fittingly beautiful. Goldsmith, in the "Deserted Village,"' 
speaks of the "decent church." 

^ Compare the way in which Melancholy comes with Mirth's, 
wav. 



24 IL PEXSEROSO 

And looks commencing with the skies, 

Thy rapt soul sitting in thine eyes : 40 

There, held in holy passion still, 

Forget thyself to marble,' till 

With a sad leaden^ downward cast 

Thou fix them on the earth as fast. 

And join with thee calm Peace and Quiet, 45 

Spare Fast, that oft with gods doth diet,^ 

And hears the Muses* in a ring 

Aye round about Jove's altar sing: 

And add to these retired Leisure, , 

That in trim gardens takes his pleasure ; 50 

But, first and chiefest, with thee bring 

Him that yon' soars on golden wing, 

Guiding the fiery-wheeled throne, j 

The Cherub Contemplation ; 

And the mute Silence hist^ along, 55 

'Less Philomel will deign a song" 

^ Forget her surroundings and become like a marble statue. 

^ "Sad" means "serious" rather than "sorrowful." Does 
■^'leaden" refer to color or heaviness? As "fast" as what? 

^ Dine. * The goddess of the arts, especially poetry. 

^Yonder. The reference is to the chariot of God seen in a 
vision of the prophet Ezekiel (Ezekiel, V.) each wheel of 
which was a cherub. Milton says, on his own authority, that 
Contemplation was the chief or guiding cherub. What was 
the corresponding companion of Mirth? Scan line 54. 

® "Hist" seems to be a verb meaning "bring silently." Some 
critics consider it a past participle meaning "hushed," thus 
making silence the object of bring. 

'' "Unless the nightingale will consent to sing." Philomela, 
in Greek mythology, was a princess who was changed into a 
nightingale to save her from the anger of her husband Tereus, 
who, however, still pursued her in the form of a hawk. 
Philomela is still the scientific name for the nightingale and 
Tereus for a genus of hawk. The nightingale is represented 
l)y the poets as forever sorrowing over her former life. 



IL PENSEROSO 25 

In her sweetest, saddest plight/ 

Smoothing the rugged brow of Night/ 

While Cynthia' checks her dragon yoke 

Gently o'er the accustomed oak. 60 

Sweet bird, that shunn'st the noise of folly," 

Most musical, most melancholy! 

Thee, chantress, oft, the woods among, 

I woo, to hear thy even-song; 

And, missing thee, I walk unseen' 65 

On the dry smooth-shaven green, 

To behold the wandering moon 

Riding near her highest noon,^ 

Like one that had been led astray 

Through the heaven's wide pathless way, 70 

And oft, as if her head she bowed. 

Stooping through a fleecy cloud. 

Oft, on a plat of rising ground, 
I hear the far-ofif curfew' sound 
Over some wide watered shore* 75 

'^ "Plight" seems to be used in the combined sense of "mood" 
and "strain." 

^ The song of the nightingale causes the stern face of 
Night to relax into a pleased expression. 

^ One of the names for Diana, the moon goddess. She stops 
her dragon-drawn chariot to listen to the nightingale's singing 
in the oak in which L' Allegro was accustomed to hear it. 
It will do no harm to remember that actually, in the case of 
the nightingale, as well as of all other birds, it is the male 
and not the female that is the singer. 

* When does the nightingale sing? What is the corres- 
ponding bird to which L' Allegro listens? 

^ Compare "not unseen" in L' Allegro, line 57. 
® Highest point in the sky, where the sun is at noon. Do 
not miss the marvelous beauty of these lines about the moon. 

^What is the literal meaning of "curfew?" What is the 
corresponding morning sound in L' Allegro? 

* The shore of some wide water. 



26 IL PENSEROSO 

Swinging slow with sullen roar;' 

Or, if the air^ will not permit, 

Some still, removed^ place will fit/ 

Where glowing embers through the room 

Teach light to counterfeit a gloom ;" 80 

Far from all resort of mirth, 

Save the cricket on the hearth,* 

Or the bellman's drowsy charm' 

To bless the doors from nightly harm. 

Or let my lamp, at midnight hour,* 85 

Be seen in some high lonely tower,^ 



^ What is it that swings slowly? Read the verse so as to 
bring out the swinging movement. 

" Weather. ^ Remote, secluded. * Be fitting. 

° What is meant by teaching ''light to counterfeit a gloom?" 

® In the days when there were open fire-places in loosely- 
constructed houses, crickets frequently lived about the hearth 
and could be heard chirping when the house was quiet. What 
book gets its title from this line ? Do you know any other 
examples of book-titles taken from lines or parts of lines 
of poetry? 

^ The bellman was a nightwatchman who went about the 
streets ringing his bell and announcing the hours and the state 
of the weather. You may recall the story of the nightwatch- 
man in Philadelphia who announced the surrender of Corn- 
wallis. The character of the "drowsy charm" may be seen 
from Robert Herrick's little poem, "The Bell-man." 

"From noise of Scare-fires rest ye free, 

From murders Benedicite, 

From all mischances that may fright 

Your pleasing slumbers in the night, 

Mercie secure ye all and keep 

The Goblin from ye while ye sleep, 

Past one o'clock and almost two 

My masters all. Good day to you." 

^ Note the indication of time. 

° Why does II Penseroso choose a "high lonely tower" as a 
place in which to read? 



IL PENSEROSO 27 

Where I may oft outwatch the Pear' 

With thrice great Hermes," or unsphere' 

The spirit of Plato, to unfold' 

What worlds or what vast regions hold 90 

The immortal mind that hath forsook 

Her mansion in this fleshly nook ; 

And of those demons' that are found 

In fire, air, flood, or underground, 

Whose power hath a true consent,^ 95 

With planet or with element. 

Sometime let gorgeous Tragedy, 

In sceptred pall,' come sweeping by. 

Presenting Thebes, or Pelops' line. 

Or the tale of Troy divine;' 100 

^ Stay awake reading till morning. The constellation of 
the Bear (either Ursa Major of Ursa Minor), revolving about 
the pole star, is visible all night. 

2 With=reading. Hermes Trismegistus, (i.e., "thrice-great") 
was a mythical Egyptian philosopher to whom were attributed 
certain works treating of magic, religion, and the nature of 
the soul. 

^ Call back from the sphere where it dwells. Reading Plato's 
works is, as it were, calling back his spirit and communmg 
with it. 

''To tell what worlds or what regions hold the immortal 
soul of man, when it has left the body. 

'Some such phrase as "to tell" should be supplied after 
"and." Demons means spirits, not devils. Compare fiend, 
L'Allegro, line no. 

^ Agreement. Certain spirits were supposed to work in 
harmony with certain "elements" and certain planets. Read 
"A Doctor of Medicine" in Kipling's Rewards and Fairies. 

^ Bearing the scepter and wearing the royal robe. Ancient 
tragedy dealt with the downfall of princes. 

* Milton refers to the dramas of Aeschylus, Sophocles, and 
Euripides which deal with the stories of Oedipus, King of 
Thebes, of Agamemnon and Menelaus, descendants of Pelops, 
and of the Trojan War. 



28 IL PENSEROSO 

Or what (though rare) of later age 
Ennobled hath the buskined stage."" 

But, O sad virgin !^ that thy power 
Might raise Musaeus^ from his bower; 105 

Such notes as, warbled to the string, 
Drew iron tears down Pluto's cheek, 
And made hell grant what love did seek;* 
Or call up him' that left half told 

The story of Cambuscan bold, IIO 

Of Camball, and of Algarsife, 
And who had Canace to wife 
That owned the virtuous ring and glass. 
And of the wondrous horse of brass. 
On which the Tartar king did ride; 115 

And if aught else great bards' beside 
In sage and solemn tunes have sung, 

^ "Or other recent tragedies that are worth while." For 
"buskined'' see L' Allegro, line 132 and note. Milton may be 
referring here to the tragedies of Shakespeare and Ben Jon- 
son. What does he seem to think of modern tragedy as 
compard with ancient? 

^ Who is the "sad virgin?" ^ Musseus was a mythical Greek 
poet to whom sacred hymns were ascribed. "Bower" prob- 
ably means "secluded retreat." 

* See L'Allegro, lines 145-150 and note. Musseus and Orpheus 
evidently stand for "lyric" poetry. What three kinds of 
verse does II Penseroso read? 

^ Chaucer, who left unfinished "The Squire's Tale," one of 
The Canterbury Tales. It is a story of Oriental magic, as 
Milton suggests. The persons named are characters in the 
story. The "virtuous" i.e., powerful, ring enabled a person to 
understand the language of birds; the glass enabled him to 
see future events; the "wondrous horse" was a sort of 
classical aeroplane. 

® The "great bards" are almost certainly Edmund Spenser 
and the great Italian poets, Tasso and Ariosto. Spenser's 
"Faerie Queene" exactly fits the description. 



IL PENSEROSO 29 

Of tourneys, and of trophies hung, 

Of forests, and enchantments drear. 

Where more is meant than meets the ear/ 120 

Thus, Night, oft see me in thy pale career, 
Till civil-suited' Morn appear, 
Not tricked and frounced' as she was wont 
With the Attic boy* to hunt, 

But kerchieft' in a comely cloud, 125 

While rocking winds are piping loud ; 
Or ushered with a shower still. 
When the gust hath blown his' fill. 
Ending on the rustling leaves. 

With minute' drops from off the eaves. 130 

And, when the sun begins to fling 
His flaring beams, me, goddess,' bring 
To arched walks of twilight groves. 
And shadows brown, that Sylvan^ loves, 
Of pine, or monumentar oak, 13- 

Where the rude axe with heaved stroke" 

^ One thing is said, which meets the ear; another thing is 
meant, which the mind perceives. This is an accurate "de- 
scription of an allegory such as the "The Faerie Oueene" 
or "The Pilgrim's Progress." 

"^ Dressed as a civilian or citizen. Compare the appear- 
ance of the morning in L'Allegro. Note the indication of 
time. 

^In fine clothes and with curled hair. Wont=accustomed. 

* Cephalus a Grecian youth beloved by the Dawn. 

With head covered. Compare "cur-few," i.e., cover the 
fire; and "chef," a head cook. 

® The old form of the neuter pronoun. His is frequently 
used in this sense in the Bible and in Shakespeare. 

'As we say "minute guns." 'Who is the goddess? 

® Silvanus, an old Italian god of woods and fields, later 
identified with the Greek god Pan. 

" Why "monumental" oak. 

"What is really "heaved" and what really "rude?" 



3,0 IL PENSEROSO 

Was never heard the nymphs^ to daunt 

Or fright them from their hallowed haunt. 

There, in close covert by some brook, 

Where no profaner^ eye may look, 14c 

Hide me from day's garish* eye, 

While the bee, with honeyed thigh. 

That at her flowery work doth singj 

And the waters murmuring, 

With such consort* as they keep 145 

Entice the dewy-feathered sleep ; 

And let some strange mysterious dream 

Wave at his wings, in airy stream 

Of lively portraiture displayed, 

Softly on my eyelids laid ;"" 150 

And, as I wake, sweet music breathe 

Above, about, or underneath. 

Sent by some spirit to mortals good,* 

Or the unseen genius^ of the wood. 

But let my due^ feet never fail 155 

To walk the studious' cloisters' pale," 

^ The wood spirits or dryads. 

^ Unduly familiar, disrespectful. It is probably used in 
the sense of "too profane," a Latin construction not common 
in English. 

^ Glaring. ■* Harmony, concert. 

' A difficult passage to explain literally but clear enough in 
its general meaning. II Penseroso wishes to have pleasant 
dreams while asleep in the forest. He seems to think of a 
personified dream hovering at the wings of sleep and pouring 
on his eyes a stream of vivid pictures. 

® Good or kind to mortals. ^ The guardian spirit. 

* Feet due at the cloister. 

® Milton may have had in mind the covered walks at Cam- 
bridge rather than the cloister of a cathedral. 

' ^° Enclosure. Cf . "palings" of a fence. 



IL PENSEROSO 31 

And' love the high embowed^ roof, 

With antique pillars massy proof,' 

And storied* windows richly dight. 

Casting a dim religious" light ; i6r 

There let the pealing organ blow 

To the full-voiced quire below, 

In service high and anthems clear, 

As may with sweetness, through mine ear, 

Dissolve me into ecstasies, 165 

And bring all heaven before mine eyes.* 

And may at last my weary age 
Find out the peaceful hermitage, 
The hairy gown and mossy cell. 

Where I may sit and rightly spelF 170 

Of every star that heaven doth shew, 
And every herb that sips the dew, 
Till old experience do attain 
To something like prophetic strain/ 

These pleasures, Melancholy, give, 175 

And I with thee will choose to live. 



^ Supply "let me" before "love." ' Arched or vaulted. 

^ Proof against the mass or weight. * Storied does not mean 
several stories high. What does it mean? 

"Why "religious light?" Why do churches contain colored 
or ground glass windows? 

® Compare the effect of this religious music upon II Pen- 
seroso with the effect of the secular upon L'Allegro. 

' Study laboriously. * About. 

" The old physicians believed that there was a connection 
between the stars and the herbs, the understanding of which 
gave them extraordinary power. Read Kipling's poem, "Our 
Fathers of Old," in Rewards and Fairies. 



COMUS 



A MASK 

PRESENTED AT LUDLOW CASTLE, 1634, 

BEFORE 

JOHN, EARL OF BRIDGEWATER, 

THEN PRESIDENT OF WALES. 



THE PERSONS 
The Attendant Spirit, afterwards in the habit of Thyrsis. 
CoMUS, with his crew. 
The Lady. 

First Brother. 
Second Brother. 

Sabrina, the Nymph. 



?>2 



COMUS 

[the masque 

In order to understand and appreciate "Comus," it is 
necessary to know something about the general form of the 
drama known as the masque, of which Milton's poem is the 
most famous example in the English language. 

The masque is a kind of dramatic performance that 
had been growing up in England for a long time but which 
reached its highest development between 1600 and 1642. 
Masques were very popular during these years among the 
nobility and the wealthy trade unions or guilds, and at the 
court of James I, and Charles I ; and some of the greatest 
men of the time contributed to their production. Ben Jonson 
wrote many masques which were presented at court. Inigo 
Jones, a famous architect, constructed the scenery and the 
stage machinery ; Henry Lawes, a distinguished musician, 
composed the music ; and even Francis Bacon himself super- 
intended their production. 

These plays were often enormously expensive. Ben 
Jonson's "Masque of Blackness," in 1609, cost the court i3,ooo, 
about the equivalent of $60,000 at the present time; and 
Shirley's "Triumph of Peace" in 1634, the very year Comus 
was played, cost the Inns of Court the enormous sum of 
$400,000. It has been estimated that the average cost of a 
masque was about $25,000. 

From these figures we may readily infer one fact con- 
cerning the masque : it was not a regular play presented at a 
public theater. In fact, we may fairly describe masques as 
elaborate private or semi-private theatricals presented at court, 
at the homes of the nobility, and at the halls of the trades 
unions or guilds. This form of the drama had certain well 
marked characteristics which it is worth while to note so 
that they may be recognized in Comus, which is a typical 
masque except that in it the words, or text, are of much 
greater relative importance than in most masques. 

1. ]\Iasques were presented with very elaborate stage 
properties, costumes, scenery, machines, etc., such as were 
seldom seen in regular plays. The occasion was some im- 
portant festivity, such as a wedding, an inauguration into 
office, or a national holiday. 

2. Some of the actors were usually members of the 
nobility or of the society giving the masque. 

3. Complimentary references to these actors or to other 
distinguished persons present, were common. 

4. Dancing was a prominent feature. Generally there 
were two kinds of dances, courtly and rustic. The courtly 

33 



34 COMUS 

dances were probably taken part in by members of the au- 
dience ; the rustic dances were sometimes performed by 
professional actors and were known as the anti-masques. 

5. The singing of songs was another prominent char- 
acteristic. 

6. The characters represented were frequently mytho- 
logical or supernatural beings, or nursery characters such 
as Old King Cole. 

These are some of the marked characteristics of the 
masque. All of them are to be found in Couuis and should 
be noted by the student. 

MILTON'S GOMUS 
Now as to Milton's famous masque ! On Michaelmas 
Day, September 29, 1634, the Earl of Bridgewater was in- 
augurated Lord President of Wales, at Ludlow Castle, Shrop- 
shire. In the evening Conius, which had been composed for 
the occasion, was presented in the great hall of the castle. 
Milton had written the v/ords ; Henry Lawes, the music. The 
parts of the Lady and the Two Brothers were taken by the 
Earl's daughter Alice and his sons, John and Thomas. It is 
not known who played the parts of Comus and Sabrina ; they 
were probably taken by professional actors. 

SOURCES OF COMUS 

It is much more important to stud}^ a piece of liter- 
ature itself than to learn its "sources," i.e., tht earlier works 
from which the author received suggestions. At the same 
time it may be interesting to observe that many great authors 
do not originate their plots but draw them from other writers. 
Shakespeare is a notable example of this practice. In Conius, 
Milton has done this : he has taken from other men hints, 
characters and incidents, and woven them into a great original 
poem. 

There is a tradition that the Earl of Bridgewater's 
children were actually lost in the woods near Ludlow Castle 
and that the plot of Comus was based on this incident ; 
but there is no proof that such an adventure ever happened. 
On the other hand, critics are generally agreed that Milton 
received his suggestions from George Peele's play, "The Old 
Wives' Tale," John Fletcher's pastoral play, "The Faithful 
Shepherdess," a play of "Comus" by a Dutchman named 
Putaneus, Ben Jonson's masque, "Pleasure Reconciled to 
Virtue," and the Circe myth as told by classical authors. Most 
of these "sources" may be read by those who wish to 
determine the extent of Milton's indebtedness to other authors. 
But it is much more important to make a careful study of 
Comus itself.] 



COMUS 

The first Scene discovers a wild wood. The 
Attendant Spirit descends or enters. 

Before the starry threshold of Jove's court 

My mansion is, where those' immortal shapes 

Of bright aerial spirits live insphered^ 

In regions mild of calm and serene air, 

Above the smoke and stir of this dim spot, 5 

Which men call earth, and,^ with low-thoughted care, 

Confined and pestered* in this pinfold^ here. 

Strive to keep up a frail and feverish being. 

Unmindful of the crown that virtue gives, 

After this mortal change, to her true servants, 10 

Amongst the enthroned gods on sainted seats.^ 

Yet some there be that, by due steps, aspire 

To lay their just hands on that golden key 

That opes the palace of eternity. 

To such my errand; and but for such 15 

I would not soil these pure ambrosial weeds^ 

With the rank vapours of this sin-worn mould/ 

^ Those well-known beings, the gods. 

^ May refer to the "spheres" of the Ptolemaic astronomy 
but probably simply means "enclosed in," "surrounded by." 

^ Supply "where they" before "with." 

* "Hampered" rather than "annoyed." 

"A pound for animals, originally; here it means a narrow 
enclosure or pen. 

^ Note the beauty of this line. 

'' Heavenly garments. * Earth. 



36 COMUS 

But to my task. Neptune, besides the sway 
Of every salt flood and each ebbing stream, 
Took in by lot, 'twixt high and nether Jove,* 20 

Imperial rule of all the sea-girt isles 
That, like to rich and various gems, inlay 
The unadorned bosom of the deep; 
Which he, to grace' his tributary gods. 
By course^ commits to several government, 25 

And gives them leave to wear their sapphire crowns, 
And wield their little tridents/ But this Isle,'' 
The greatest and the best of all the main. 
He quarters^ to his blue-haired^ deities ; 
And all this tract that fronts the falling sun,* 30 

A noble peer, of mickle^ trust and power. 
Has in his charge, with tempered^" awe to guide 
An old and haughty nation," proud in arms : 
Where his fair offspring, nursed in princely lore, 
Are coming to attend their father's state," 35 

And new-entrusted sceptre. But their way 
Lies through the perplexed paths of this drear wood, 
The nodding horror of whose shady brows" 
Threats the forlorn and wandering passenger ; 



* Jupiter and Pluto. ^ Honor. ^ In order. 

*The trident was Neptune's scepter. ^ What isle? 

® Probably means "divides among." 

^ From the color of the sea. Deities probably means the 
same as the "tributary gods" above. 

* What is the western part of Great Britain called? 

® Great. Who is meant? 

" "Mixed, modified." The awe is due to justice mingled with 
mercy. 

"Who are meant? Why oldf What characteristic of the 
masque is shown in these references? 

^^ Refers to the inauguration. ^^ Refers to the overhanging 
branches. 



COMUS 37 

And here their tender age might suffer peril, 40 

But that, by quick command from sovereign Jove, 

I was despatched for their defense and guard. 

And Hsten why ; for I will tell you now 

What never yet was heard in tale or song, 

From old or modern bard, in hall or bower.' 45 

Bacchus, that first from out the purple grape 
Crushed the sweet poison of misused wine. 
After the Tuscan mariners transformed,' 
Coasting the Tyrrhene' shore, as the winds listed,' 
On Circe's island' fell. (Who knows not Circe, 50 

The daughter of the Sun, whose charmed cup 
Whoever tasted, lost his upright shape. 
And downward fell into a grovelling swine?) 
This nymph, that gazed upon his clustering locks 
With ivy berries wreathed,^ and his blithe youth, 55 
Had by him, ere he parted thence, a son 
Much like his father, but his mother more. 
Whom, therefore, she brought up, and Comus named: 
Who, ripe and frolic of his full-grown age/ 
Roving the Celtic and Iberian fields,^ 60 

At last betakes him to this ominous wood,^ 
And, in thick shelter of black shades embowered. 
Excels his mother at her mighty art, 
Offering, to every weary traveller, 

^ Banquet hall or lady's chamber, i.e., anywhere, among men 
or women. 

- Had been transformed. A Latin construction. Bacchus 
transformed into swine some sailors who had seized him. 

nVestern coast of Italy. * 'Tleased" or "willed." Cf. "The 
wind bloweth where it listeth." ' Aeaea, off the coast of 
Italy. ^ Cf. "ivy crowned Bacchus," L' Allegro, line 16. 

^ Rejoicing in his prime. ^ France and Spain. 

® What wood is meant? 



38 COMUS 

His orient' liquor in a crystal glass, 65 

To quench the drought of Phoebus \ which as they taste 

(For most do taste, through fond"" intemperate thirst) 

Soon as the potion works, their human countenance, 

The express'' resemblance of the gods, is changed 

Into some brutish form of wolf, or bear, 70 

Or ounce,' or tiger, hog, or bearded goat. 

All other parts remaining as they were f 

And they, so perfect in their misery. 

Not once perceive their foul disfigurement, 

But boast themselves more comely than before, 75 

And all their friends and native home forget, 

To roll with pleasure in a sensual sty. 

Therefore, when any favoured of high Jove 

Chances to pass through this adventurous glade. 

Swift as the sparkle of a glancing star 80 

I shoot from heaven to give him safe convoy. 

As now I do. But first I must put off 

These my sky-robes, spun out of Iris'^ woof. 

And take the weeds and likeness of a swain^ 

That to the service of this house belongs, 85 

Who, with his soft pipe^ and smooth-dittied" song. 

Well knows to still the wild winds when they roar, 

^ "Orient" suggests the East with its strange beauty and 

its mystery. 

^ Thirst caused by the sun. ^ Cf. "fancies fond," II Pense- 
roso, line 6. 

* Exact. ^ A carnivorous, leopard-like animal. 

® In the Odyssey the men's bodies are changed wholly into 
those of swine, but their minds remain unchanged. Why 
does Milton change only their faces but make them uncon- 
scious of the change? What does drinking the liquor of 
Comus symbolize? 

'' Goddess of the rainbow. ^ Countrymen, Who is referred 
to in these lines? Is the description a fitting one? 

* A flute-like instrument. " Pleasantly worded. 



COMUS 39 

And hush the waving woods ; nor of less faith/ 

And in this office of his mountain watch 

Likeliest, and nearest to the present aid 90 

Of this occasion. But I hear the tread 

Of hateful steps ; I must be viewless now. 

Com us enters zuitJi a charming-rod in one hand, his 
glass in the other; mith him a rout of monsters,^ 
headed like sundry sorts of zvild beasts, but other- 
zmse like men and zuomen, their apparel glister- 
ing.^ They conic in, making a riotous and unruly 
noise, ivith torches in their hands. 

Comus. The star" that bids the shepherd fold, 
Now the top of heaven doth hold ; 
And the gilded car of day 95. 

His glowing axle doth allay^ 
In the steep Atlantic stream f 
And the slope sun his upward beam 
Shoots against the dusky pole/ 

Pacing toward the other goal 100 

Of his chamber in the east. 
Meanwhile, welcome joy and feast, 
Midnight shout and revelry, 
Tipsy dance and jollity. 

Braid your locks with rosy twine/ 105 

Dropping odours, dropping wine.^ 

'^ Not less faithful as a watchman than skilled as a musician. 

^ Unnatural creatures. 

^ Note the form. Cf. "All that glisters is not gold." 

* Hesperus, the evening star. ^ Cool. 

* The ancients regarded the Atlantic as an earth-encircling 
stream which the sun traversed in passing from west to east. 

^ This is a rather obscure passage about which the commen- 
tators disagree. What do you make of it? 

* Vv'reaths or garlands of roses. 

® What lines in L' Allegro are suggested by lines 102-106? 



40 COMUS 

Rigour now is gone to bed, 

And Advice, with scrupulous head, 

Strict Age, and sour Severity, 

With their grave saws,' in slumber lie. no 

We, that are of purer fire,^ 

Imitate the starry quire,"* 

Who, in their nightly watchful spheres, 

Lead in swift round the months and years. 

The sounds* and seas, with all their finny drove, 115 

Now to the moon in wavering morrice^ move ; 

And, on the tawny sands and shelves, 

Trip the pert fairies and the dapper elves.^ 

By dimpled brook and fountain-brim, 

The wood-nymphs, decked with daisies trim, 120 

Their merry wakes' and pastimes keep : 

What hath night to do with sleep? 

Night hath better sweets to prove, 

Venus now wakes, and wakens Love, 

Come, let us our rites begin ; 125 

'Tis only daylight that makes sin,^ 

Which these dun shades will ne'er report. 



^ Maxims, proverbs. ^ Fire, of which the gods were made, 
was supposed to be the purest of the four elements. 

^ "We imitate the starry spirits by dancing" as they do while 
they lead on the months and years." The starry quire is 
suggested by the old behef in the "music of the spheres," 
the harmonious sound made by the moving spheres. 

■* Cf. Puget Sound. ''A morris or Moorish dance. What 
phenomenon is referred to? 

^ "Dance the lively fairies and the dainty elves." Xote how 
the movem.ent of the line and the sound of the words all har- 
monize with our idea of fairies. ' "Vigils, watches." 

* A whole philosophy of life is expressed in this line. Is it 
Milton's or Comus's philosophy? 



COMUS 41 

Hail, goddess of nocturnal sport, 

Dark-veiled Cotytto/ to whom the secret flame 

Of midnight torches burns ! mysterious dame, 130 

That ne'er art called but when the dragon womb 

Of Stygian darkness spits her thickest gloom 

And makes one blot of all the air! 

Stay thy cloudy ebon chair, 

Wherein thou rid'st with Hecate,^ and befriend ' 135 

Us, thy vowed priests, till utmost end 

Of all thy dues be done, and none left out; 

Ere the blabbing eastern scout, 

The nice^ Morn, on the Indian steep, 

From her cabined loop-hole peep, 140 

And to the tell-tale sun descry* 

Our concealed solemnity/ 

Come, knit hands, and beat the ground 

In a light fantastic round.* 

[The MeasureY 

Break off, break off, I feel the different pace 145 

Of some chaste footing near about this ground. 

Run to your shrouds,* within these brakes^ and trees ; 

Our number may affright. Some virgin sure 

(For so I can distinguish by mine art) 

Benighted in these woods! Now to my charms, 150 

And to my wily trains :" I shall, ere long, 

^ A Thracian goddess of debauchery. 

^ The goddess of witchcraft. 

^ Fastidious. Used sneeringly, as are the words in the next 
line. What is the grammatical construction of Morn? Why 
"Indian steep?" * Disclose. ^Ceremony. ® Dance. 

^ At this point the first rustic dance or anti-masque is 
given. * Hiding-places. ''Bushes. ^"Allurements, snares. 



42 COMUS 

Be well stocked with as fair a herd as grazed 

About my mother Circe. Thus I hurl 

My dazzling spells into the spongy^ air, 

Of power to cheat the eye with blear' illusion 155 

And give it false presentments, lest the place 

And my quaint habits^ breed astonishment, 

And put the damsel to suspicious flight ; 

Which must not be, for that's against my course.* 

I, under fair pretence of friendly ends, 160 

And well-placed words of glozing^ courtesy, 

Baited with reasons not unplausible, 

Wind*^ me into the easy-hearted man. 

And hug him into snares. When once her eye 

Hath met the virtues' of this miagic dust, 165 

I shall appear some harmless villager. 

Whom thrift keeps up about his country gear.* 

But here she comes ; I fairly^ step aside. 

And harken, if I may, her business here. 



The Lady enters. 

Lady. This way the noise was, if mine ear be true, 170 
My best guide now. Methought" it was the sound 
Of riot and ill-managed merriment, 
Such as the jocund flute, or gamesome pipe. 
Stirs up among the loose unlettered hinds," 
When, for their teeming flocks, and granges full, 175 

* Absorbent. ^ Deceiving. ^ Clothes. * Course of action. 

* Flattering and deceiving. ^ Twist like a serpent. 

^ Power. Cf. "virtuous ring and glass." II Penseroso, line 113. 

* "Whom frugality or good husbandry keeps awake to attend 
to his rural business." ® Quietly. " It seemed to me. 

" Loose-living, uneducated farm-laborers. 



COMUS 43 

In wanton dance they praise the bounteous Pan/ 

And thank the gods amiss." I should be loth 

To meet the rudeness and swilled insolence^ 

Of such late wassailers f yet, oh ! where else 

Shall I inform' my unacquainted feet i8o 

In the blind mazes of this tangled wood? 

My brothers, when they saw me wearied out 

With this long way, resolving here to lodge 

Under the spreading favour of these pines, 

Stepped, as they said, to the next thicket-side, 185 

To bring me berries, or such cooling fruit 

As the kind hospitable woods provide. 

They left me then when the grey-hooded even 

Like a sad votarist in palmer's weed,* 

Rose from the hindmost wheels of Phoebus' wain.' 190 

But where they are, and why they came not back. 

Is now the labour of my thoughts. 'Tis likeliest 

They had engaged' their wandering steps too far ; 

And envious darkness, ere they could return. 

Had stole them from me. Else, O thievish night, 195 

Why shouldst thou, but for some felonious end, 

In thy dark lantern thus close up the stars 

That nature hung in heaven, and filled their lamps 

With everlasting oil, to give due light 

To the misled and lonelv traveller? 200 



' GoJ of shepherds and all rural affairs. ^ In the wrong way. 

^ Insolences caused by swilling or drinking. * Revelers. 

^ Get information for. 

'"Sad" means "serious" rather than "melancholy.''' _A 
votarist is one who has taken a vow, a palmer, one who carries 
a palm branch in token of having been to the Holy Land. 
"Weed" means "garment." ' The sun's chariot. ' Drawn on. 



44 COMUS 

This is the place, as well as I may guess, 

Whence even now the tumult of loud mirth 

Was rife^ and perfect in my listening ear ; 

Yet nought but single' darkness do I find, 

What might this be? A thousand fantasies 205 

Begin to throng into my memory. 

Of calling shapes, and beckoning shadows^ dire, 

And airy tongues that syllable men's names 

On sands, and shores, and desert wildernesses.* 

These thoughts may startle well,^ but not astound 210 

The virtuous mind, that ever walks attended 

By a strong siding champion, Conscience.^ 

O, welcome, pure-eyed Faith, white-handed Hope, 

Thou hovering angel, girt with golden wings. 

And thou unblemished form of Chastity!^ 215 

I see ye visibly, and now believe 

That He, the Supreme Good, to whom all things ill* 

Are but as slavish officers of vengeance. 

Would send a glistering' guardian, if need were, 

^ Abundant. ^ Complete. ^ "Shapes" and "shadows" suggest 
ghosts and spirits. 

* Read lines 205-209 aloud, pronouncing each word dis- 
tinctly, until their beauty and imaginative suggestiveness be- 
come evident. Do not miss the hissing alliteration. 

'"May well startle." 

' The line is scanned as follows : 

"By a strong siding champion, Conscience" 

'' We expect "Charity" to go with Faith and Hope, and the 
surprise emphasizes chastity, or purity, the theme of the poem. 

/ / / / f 

* "That He the Supreme Good to whom all things ill" 

' Note the form of the word. 



COMUS 45 

To keep my life and honour unassailed. 220 

Was I deceived, or did a sable cloud 

Turn forth her silver lining on the night? 

I did not err, there does a sable cloud 

Turn forth her silver lining on the night," 

And casts a gleam over this tufted grove. 225 

I cannot halloo to my brothers, but 

Such noise as I can make to be heard farthest 

I'll venture ; for my new-enlivened spirits 

Prompt me ; and they, perhaps, are not far off. 

SONG. 

Sweet Echo, sweetest nymph, that liv'st unseen 230 
Within thy airy shell," 
By slow Meander's^ margent* green 
And in the violet-embroidered vale' 

Where the love-lorn^ nightingale 
Nightly to thee her sad song mourneth well ; 235 

Canst thou not tell me of a gentle pair 
That likest thy Narcissus' are? 

O, if thou have 
Hid them in some flowery cave, 

Tell me but where, 240 

Sweet queen of Parley,^ Daughter of the Sphere** 

^ Note the repetition. 

^ The "airy shell" is the atmosphere. ^ The Meander is the 
river in Asia Minor whose winding course has given us the 
word "meander." * "Margent" is an old form of "margin." 

^ Possibly refers to the vale of Colonus, near Athens. 

* Probably means "sad through love." Cf. II Penseroso, 
lines 57-62. 

^ The beautiful youth whom Echo loved and for whose love 
she pined away until she was only a voice. 

*Talk. Cf. Parliament. 'The "airy shell" of line 231. 



46 COMUS 

So mayst thou be- translated to the skies, 
And give resounding^ grace to all heaven's harmonies. 

Enter Com us 

Comiis. Can any mortal mixture of earth's mould 
Breathe such divine enchanting ravishment? 245 

Sure something holy lodges in that breast, 
And with these raptures moves the vocal air 
To testify his^ hidden residence. 
How sweetly did they float upon the wings 
Of silence, through the empty-vaulted night, 250 

At every fair smoothing the raven-down 
Of darkness, till it smiled ! I have oft heard 
My mother Circe, with the Sirens^ three, 
Amidst the flowery-kirtled Naiades/ 
Culling their potent herbs and baleful drugs, 255 

Who, as they sang, would take the prisoned soul, 
And lap it in Elysium \ Scylla wept. 
And chid her barking waves into attention, 
And feir Charybdis murmured soft applause. 
Yet they in pleasing slumber lulled the sense, 260 

And in sweet madness robbed it of itself ; 

^ Literally "re-sounding," repeating", echoing. "Heaven's 
harmonies" refers to the "music of the spheres." ^ Its. 

^ Cadence. Scan the line. * Water nymphs who lived on a 
rocky island near Sicily and lured mariners to destruction by 
their sweet singing. ^ Fresh-water nymphs, or maids, with 
garments made of or adorned with flowers. 

® For Elysium, see L'Allegro, line 147 and note. Scylla, a 
monster with a voice like a bark, is identified with a rock on 
the Italian side of the Strait of Messina, between Italy and 
Sicily; Charybdis, with a whirlpool on the Sicilian side of the 
same strait. Both were considered very dangerous to sailors. 
"Between Scylla and Charybdis" was practically the classical 
equivalent for our "Between the devil and the deep sea." 

^ Fierce. 



COMUS 47 

But such a sacred and home-felt' delight, 

Such sober certainty of waking bliss," 

I never heard till now."^ I'll speak to her. 

And she shall be my queen. Hail, foreign wonder ! 265 

Whom certain' these rough shades did never breed, 

Unless the goddess that in rural shrine 

Dwell'st here with Pan, or Sylvan," by blest song 

Forbidding every bleak unkindly fog 

To touch the prosperous growth of this tall wood. 270 

Lady. Nay, gentle shepherd, ill is lost that praise* 
That is addressed to unattending ears ; 
Not any boast of skill, but extreme shift' 
How to regain my severed company. 
Compelled me to awake the courteous Echo 275 

To give me answer from her mossy couch. 

Coiniis. What chance, good lady, hath bereft you 
thus ? 

Lady. Dim darkness, and this leafy labyrinth. 

Comiis. Could that divide you from near-ushering 
guides ? 

Lady. They left me, weary, on a grassy turf. 280 

Coiniis. By falsehood, or discourtesy, or why? 

Lady. To seek, i' the valley, some cool friendly spring. 

Coniiis. And left your fair side all unguarded, lady? 

Lady. They were but twain, and purposed quick 
return. 

Conuis. Perhaps forestalling night prevented 
them. 285 

^ Felt home, felt deeply. 

■ "Waking bliss'' is apposed to the "pleasing slumber" pro- 
duced by the Sirens' song. This is a famous line. Why? 

^ To whom does this whole passage refer? What char- 
acteristic of the masque does it illustrate? 

* Compare our slang use of "sure." ^ Cf. See note on II 
Penseroso, line ii-j. ^"Tha: praise is unfortunately lost.'" 

' Last resort. 



48 COAIUS 

Lady. How easy my misfortune is to hit ! 

Cofiius. Imports there loss, beside the present need?^ 

Lady. No less than if I should my brothers lose. 

Coniiis. Were they of manly prime, or youthful 
bloom ? 

Lady. As smooth as Hebe's^ their unrazored lips. 290. 

Comus. Two such I saw, what time' the laboured ox 
In his loose traces from the furrow came, 
And the swinked hedger* at his supper sat ; 
I saw them under a green mantling vine 
That crawls along the side of yon small hill, 295 

Plucking ripe clusters from the tender shoots ; 
Their port^ was more than human, as they stood. 
I took it for a fairy vision^ 
Of some gay creatures of the element,^ 
That in the colours of the rainbow live, 300 

And play i' the plighted* clouds. I was awe-struck. 
And, as I passed, I worshipped. If those you seek, 
It were a journey like the path to heaven 
To help you find them.* 

Lady. Gentle villager. 

What readiest way would bring me to that place ? 305 

Comus. Due west it rises from this shrubby point. 

Lady. To find out that, good shepherd, I suppose, 
In such a scant allowance of star-light, 
Would overtask the best land-pilot's art, 
Without the sure guess of well-practised feet. 310 

^ "Is their loss of importance?" 

^ See note on L' Allegro, line 29. ' When. 

* The tired farm-laborer. ^ Bearing. * Scan the line. 
'Air. 'Plaited, folded. 

• This whole passage is similar to lines 244-250. 



COMUS 49 

Collins. I know each lane, and every alley green, 
Dingle/ or bushy dell, of this wild wood, 
And every bosky bourn' from side to side. 
My daily walks and ancient neighbourhood ; 
And if your stray attendance'' be yet lodged, 315 

Or shroud within these limits, I shall know 
Ere morrow wake or the low-roosted* lark 
From her thatched pallef rouse; if otherwise, 
I can conduct you, lady to a low 

But loyal cottage, where you may be safe 320 

Till further quest. 

Lady. Shepherd, I take thy word, 

And trust thy honest-offered courtesy. 
Which oft is sooner found in lowly sheds^ 
With smoky rafters than in tapestry halls 
And courts of princes, where if first was named 325 
And yef is most pretended. In a place 
Less warranted than this, or less secure, 
I cannot be, that I should fear to change it.^ 
Eye me, blest Providence, and square" my trial 
To my proportioned strength. Shepherd, lead on. 330 

[Exeunt. 

^ A "dingle" is a narrow valley, very similar to a "dell" 
but with steeper sides. 

^ Bushy brook (burn) or boundary, it is difficult to say 
which. ^ Strayed attendants. 

* i.e., on the ground. The skylark sings high in the air. 

' Grass-woven nest. What are the two possible construc- 
tions of "rouse?" ^ Poor cottages. 

''i.e., courtesy. What is the derivation of "courtesy?" 

'Does "yet" mean "still" or "nevertheless?" 

® "Any other place will be more free from danger than this, 
so I need not fear to change." 

" Make proportional and sufficient. 



50 COMUS 

Enter the Two Brothers. 

First Br. Unmuffle, ye faint stars ; and thou fair 
moon, 
That wont'st' to love the traveller's benison, 
Stoop^ thy pale visage through an amber cloud, 
And disinherit^ Chaos that reigns here 
In double night of darkness and of shades ; 335 

Or, if your influence* be quite dammed up 
With black usurping mists, some gentle taper, 
Though a rush-candle^ from the wicker-hole^ 
Of some clay habitation, visit us 

With thy long-levelled rule' of streaming light, 340 
And thou shalt be our star of Arcady,^ 
Or Tyrian cynosure. 

Sec. Br. Or, if our eyes 

Be barred that happiness, might we but hear 
The folded flocks, penned in their wattled cotes,^ 
Or sound of pastoral reed with oaten stops," 345 
Or whistle from the lodge, or village cock 
Count the night watches" to his feathery dames, 
'Twould be some solace yet, some little cheering, 
In this close dungeon of innumerous" boughs. 

^ Art accnstomed. 

^ Cf. II Penseroso, line 72, "stooping through a fleecy cloud." 

* Dispossess. Chaos, the formless, unorganized Void of the 
ancients. * Note the meaning of the word. 

■"* Candle with the pith of a rush for a wick. 

' Wicker-work window. ' Ruler, drawing instrument. 

^ Constellation of the Greater Bear, probably a particular 
star. Callisto, an Arcadian princess, was changed into this 
constellation, by which the Greek sailors steered. The Tyrians 
st^^pred by th^ Pole Star, in the Lesser Bear. For cynosure^ 
see note on L' Allegro, line 80. * Sheep pens made of inter- 
woven boughs. ^° A shepherd's pipe of flute with holes 
(stoDs) cut in the oaten straw from which it was made. 

■^ Refers to the rooster's supposed practice of crowing 
every hour of the night. "Innumerable. 



COMUS 51 

But, oh, that hapless virgin, our lost sister! 350 

Where may she wander now, whither betake her 
From the chill dew, among rude burs and thistles ? 
Perhaps some cold bank is her bolster now. 
Or 'gainst the rugged bark of some broad elm 
Leans her unpillowed head, fraught with sad fears. 355 
What, if in wild amazement and affright. 
Or, while we speak, within the direful grasp 
Of savage hunger, or of savage heat?^ 

First Br. Peace, brother, be not over-exquisite^ 
To cast the fashion^ of uncertain evils: 360 

For, grant the}- be so,"* while they rest unknown, 
What need a man forestall his date of grief, 
And run to meet what he would most avoid? 
Or, if they be but false alarms of fear. 
How bitter is such' self-delusion! 365 

I do not think my sister so to seek, 
Or so unprincipled in virtue's book. 
And the sweet peace that goodness bosoms^ ever, 
As that the single want of light and noise 
(Not being in danger, as I trust she is not) 370 

Could stir the constant mood of her calm thoughts, 
And put them into misbecoming plight. 
Virtue could see to do what Virtue would,* 
By her own radiant light, though sun and moon 
Were in the flat sea sunk. And Wisdom's self 375 
Oil seeks to sweet retired solitude, 
Where, with her best nurse. Contemplation,^ 
She plumes her feathers, and lets grow her wings, 

^ Hunger of vvikl beasts or lust of savage men. 

^ Too particularizing. ^ Forecast the form. " i.e., uncertain. 

'Holds in the heart. ® Wishes to do. 

^ Cf. II Penseroso, lines 52-53. 



52 COiMUS 

That, in the various bustle of resort, 

Were all to-ruffled, and sometimes impaired. 380 

He that has light within his own clear breast 

May sit i' the centre,' and enjoy bright day : 

But he that hides a dark soul and foul thoughts, 

Benighted walks under the mid-day sun ; 

Himself is his own dungeon. 

Sec. Br. 'Tis most true, 385 

That musing meditation most affects^ 
The pensive secrecy of desert cell,^ 
Far from the cheerful haunt of men and herds. 
And sits as safe as in a senate-house ; 
For who would rob a hermit of his weeds, 390 

His few books, or his beads,* or maple dish, 
Or do his grey hairs any violence? 
But Beauty, like the fair Hesperian tree,' 
Laden with blooming gold, had need the guard 
Of dragon-watch, with unenchanted eye, 395 

To save her blossoms, and defend her fruit 
From the rash hand of bold Incontinence. 
You may as well spread out the unsunned heaps 
Of miser's treasure by an outlaw's den. 
And tell me it is safe, as bid me hope 400 

Danger will wink on' Opportunity, 
And let a single helpless maiden pass 
Uninjured in this wild surrounding waste. 

^ i.e., center of the earth. " Loves. ^ Compare II Penseroso, 
lines 167-168. 

* Rosary. ^ The tree bearing the golden apples and guarded 
by a dragon in the garden of the daughters of Hesperus. Who 
slew the dragon and secured the apples? 

* Shut the eye to, decline to see. 



COMUS 53 

Of night or loneliness, it recks me not;' 

I fear the dread events that dog them both, 405 

Lest some ill-greeting touch attempt the person 

Of our unowned^ sister. 

First Br. I do not, brother, 

Infer' as if I thought my sister's state 
Secure without all doubt or controversy; 
Yet, where an equal poise of hope and fear 410 

Does arbitrate the event, my nature is 
That I incline to hope, rather than fear, 
And gladly banish squint suspicion. 
My sister is not so defenceless left 
As you imagine; she has a hidden strength, 415 

Which you remember not. 

Sec. Br. What hidden strength, 

Unless the strength of Heaven, if you mean that? 

First Br. I mean that, too, but yet a hidden strength 
Which, if Heaven gave it, may be termed her own : 
'Tis chastity, my brother, chastity : 420 

She that has that is clad in complete steel, 
And, like a quivered nymph, with arrows keen. 
May trace huge forests, and unharboured* heaths. 
Infamous hills, and sandy perilous wilds, 
Where, through the sacred rays of chastity, 425 

No savage fierce, bandit, or mountaineer,' 
Will dare to soil her virgin purity. 
Yea, there, where very desolation dwells, 
By grots and caverns shagged with horrid shades, 
She may pass on with unblenched' majesty, 430 

Be it not done in pride, or in presumption. 

^I take no account of, matters not to me. 

^Unmarried, unprotected. ^ Argue. 

* Without shelter.- Harbor, originally, was not connected 
with the sea. 'Why are mountaineers classed with bandits^ 
" Ur faltering, and unblanching. 



54 COMUS 

Some say, no evil thing that walks by night, 

In fog or fire, by lake or moorish fen. 

Blue meagre hag, or stubborn unlaid ghost^ 

That breaks his magic chains at curfew time,^ 435 

No goblin, or swart fairy of the mine,^ 

Hath hurtful power o'er true virginity. 

Do ye believe me yet, or shall I call 

Antiquity from the old schools of Greece, 

To testify the arms of chastity? 440 

Hence" had the huntress Dian^ her dread bow, 

Fair silver-shafted queen, for ever chaste,^ 

Wherewith she tamed the brinded' lioness 

And spotted mountain-pard,^ but set at nought 

The frivolous bolt of Cupid ; gods and men 445 

Feared her stern frown, and she was queen o' the 

woods. 
What was that snaky-headed Gorgon shield^ 
That wise Minerva wore, unconquered virgin, 
Wherewith she freezed her foes to congealed stone, 
But rigid looks of chaste austerity 450 

^ Ghosts could be "l?.id" by pacifying them, i.e., doing the 
thing they Avished done, so they would no longer "walk" or 
wander about. ^ Ghosts and spirits generally could "walk" only 
between curfew and cock crow. Cf. L'x\llegro, line 114. 

^ A gnome. * Therefore, i.e., as a weapon of chastity. 

^ The goddess Diana; in Heaven, the moon (also called 
Cynthia and Phoebe) ; on earth, a huntress. Read Ben Jon- 
son's Hymn to Diana, beginning : 

"Queen and huntress, chaste and fair." 

^ An exquisite line. Note the appropriateness of "silver- 
shafted." ^ Brindled, streaked. * Pard is sometimes a short- 
ened form of leopard and may be so here. 

* The "Gorgon-shield" was a shield on which was placed the 
snaky head of Medusa, one of the monstrous creatures known 
as Gorgons, who was slain by Perseus. Minerva was the god- 
dess of wisdom. 



COMUS 55 

And noble grace, that dashed brute violence 

With sudden adoration and blank awe ? 

So dear to Heaven is saintly Chastity 

That, when a soul is found sincerely so, 

A thousand liveried angels lackey"" her, 455 

Driving far off each thing of sin and guilt ; 

And, in clear dream and solemn vision,^ 

Tell her of things that no gross ear can hear, 

Till oft converse with heavenly habitants 

Begin to cast a beam on the outward shape, 460 

The unpolluted temple of the mind. 

And turns it, by degrees, to the soul's essence, 

Till all be made immortal. But when lust, 

By unchaste looks, loose gestures, and foul talk, 

But most by lewd and lavish act of sin, 465 

Lets in defilement to the inward parts. 

The soul grows clotted by contagion, 

Embodies, and embrutes,^ till she quite lose 

The divine property of her first being." 

Such are those thick and gloomy shadows^ damp 470 

Oft seen in charnel vaults and sepulchres 

Lingering and sitting by a new-made grave, 

As loth to leave the body that it loved, 

And linked itself, by carnal sensuality. 

To a degenerate and degraded state.' 475 

Sec. Br. How charming is divine philosophy! 
Not harsh and crabbed, as dull fools suppose, 



^ Attend. ^ Scan the line. ^ Become corporeal and brutish. 
^ Existence, state of being. * Ghosts. 

® This whole passage is the complete statement of the theme 
of the poem, which the incidents are intended to illustrate. 
The incident of Una and the Lion in the "Faerie Queene" is 
an allegorical illustration of the same truth. Perhaps the 
best illustration from practical life is the reverence for a pure 
woman in the old mining camps of the West. 



S6 COMUS 

But musical as in Apollo's' lute; 

And a perpetual feast of nectared" sweets 

Where no crude surfeit reigns.^ 480 

First Br. List ! list ! I hear 

Some far-off halloo break the silent air. 

Sec. Br. Methought so, too; what should it be? 

First Br. For certain, 

Either some one, like us, night-foundered here, 
Or else some neighbour woodman, or, at worst. 
Some roving robber calling to his fellows. 485 

Sec. Br. Heaven keep my sister. Again, again, and 
near! 
Best draw/ and stand upon our guard. 

First Br. I'll halloo : 

If he be friendly, he comes well: if not. 
Defence'^ is a good cause, and Heaven be for us! 

Enter the attendant Spirit, habited like a Shepherd. 
That halloo I should know. What are you ? speak ; 490 
Come not too near : you fall on iron stakes^ else. 

Spir. What voice is that? my young Lord? speak 
again. 

Sec. Br. O brother, 'tis my father'j she])herd, sure. 

First Br. Thyrsis?^ whose artful strains have oft 
delayed 
The huddling brook to hear his madrigal,^ 495 

And sweetened" every musk-rose of the dale? 
How earnest thou here, good swain. Hath any ram 
Slipped from the fold, or young kid lost his dam, 
Or straggling wether the pent flock forsook? 

' Apollo was the god of music and poetry. 

^ Heavenly. Cf. ambrosial, line 16. 

' Another famous passage. Note how musical it is. 

* We had best draw our swords. ° Self defense. 

' i.e., their swords. '' See note on L' Allegro, line 83. 

' Pastoral song. ® Made it sweeter by singing its praise. 
For whom is the compliment intended? 



COMUS 



:)/ 



How couldst thou find this dark sequestered nook? 500 

Spir. O, my loved master's heir, and his next' joy, 
I came not here on such a trivial toy"* 
As a strayed ewe, or to pursue the stealth 
Of pilfering wolf ; not all the fleecy wealth 
That doth enrich these downs^ is worth a thought 505 
To this my errand, and the care it brought. 
But, oh, my virgin lady, where is she? 
How chance she is not in your company? 

First Br. To tell thee sadly," shepherd, without blame 
Or our neglect, we lost her as we came. 510 

Spir. Ay me unhappy ! then my fears are true. 

First Br. What fears, good Thyrsis? Prithee' 
briefly show. 

Spir. ril tell ye. 'Tis not vain or fabulous 
(Though so esteemed by shallow ignorance) 
What the sage poets,^ taught by the heavenly Muse, 515 
Storied' of old, in high immortal verse. 
Of dire Chimeras,* and enchanted isles, 
And rifted rocks whose entrance leads to Hell; 
For such there be, but unbelief is blind. 

Within the navef of this hideous \vood, 520 

Immured in cypress shades, a sorcerer dwells, 
Of Bacchus and of Circe born, great Comus, 
Deep skilled in all his mother's witcheries ; 
And here to every thirsty wanderer 
By sly enticement gives his baneful cup, 525 

With many murmurs^** mixed, whose pleasing poison 
The visage quite transforms of him that drinks, 

^ Nearest, dearest. ^ Trifle. 

^ Hills. Cf. Southdowns, a breed of sheep from the South 
Downs or south hills of England. * Seriously, truly. 

'" (I) pray thee. ® Such as Homer and Vergil. 
. ^ Told stories of. Cf. "storied windows" II Penseroso 169. 

* Fire-breathing monsters. ® Center. " Incantations. 



58 COMUS 

And the inglorious likeness of a beast 

Fixes instead, unmoulding reason's mintage 

Charactered' in the face. This have I learned 530 

Tending my flocks hard by i' the hilly crofts'^ 

That brow this bottom-glade whence, night by night, 

He and his monstrous^ rout are heard to howl. 

Like stabled* wolves or tigers at their prey, 

Doing abhorred rites to Hecate^ 535 

In their obscured haunts of inmost bowers. 

Yet have they many baits and guileful spells, 

To inveigle and invite the unwary sense 

Of them that pass unwittingly by the way. 

This evening late, by then^ the chewing flocks 540 

Had ta'en their supper on the savoury herb 

Of knot-grass dew-besprent, and were in fold, 

I sat me down to watch upon a bank 

With ivy canopied, and interwove 

With flaunting honeysuckle, and began, 545 

Wrapt in a pleasing fit of melancholy, 

To meditate' my rural minstrelsy, 

Till fancy had her fill. But, ere a close,* 

The wonted roar was up amidst the woods. 

And filled the air with barbarous dissonance : 550 

At which I ceased, and listened them awhile. 

Till an unusual stop of sudden silence 

Gave respite to the drowsy-flighted^ steeds 

That draw the litter of close-curtained Sleep. 

At last, a soft and solemn breathing sound 555 

^ (Probably char-ac'-tcrcd) . Written, stamped. 

' Small fields. 

^ What does monstrous mean? * In dens. ^ Three syllables. 

® This phrase introduces a parenthetical expression. 

^ Practice. * Before I had finished a song. 

° Sleepy but still flying on account of the noise which 
stopped just before the lady began to sing. 



COMUS 59 

Rose like a stream of rich distilled perfumes 

And stole upon the air, that even silence 

Was took^ ere she was 'ware, and wished she might 

Deny her nature and be never more, 

Stiir to be so displaced. I was all ear, 560 

And took in strains that might create a soul 

Under the ribs of Death/ But, oh, ere long, 

Too well I did perceive it was the voice 

Of my most honoured lady, your dear sister. 

Amazed I stood, harrowed with grief and fear, 565 

And, "oh, poor hapless nightingale," thought I, 

''How sweet thou sing'st, how near the deadly snare!" 

Then down the lawns I ran with headlong haste, 

Through paths and turnings often trod by day. 

Till, guided by mine ear, I found the place 570 

Where that damned wizard, hid in sly disguise 

(For so by certain signs I knew), had met 

Already, ere my best speed could prevent. 

The aidless innocent Lady, his wished prey; 

Who gently asked if he had seen such two, 575 

Supposing him some neighbour villager. 

Longer I durst not stay, but soon I guessed 

Ye were the two she meant ; with that I sprang 

Into swift flight, till I had found you here; 

But further know I not. 580 

Sec. Br. O night and shades, 

How are ye joined with hell in triple knot 

Against the unarmed weakness of one virgin, 

Alone and helpless ! Is this the confidence 

You gave me, brother? 

First Br. Yes, and keep it still ; 

Lean on it safely ; not a period* 585 

^ Enchanted. ^ "Always," as it often means. 
^ Refers to the story of Eve's creation from a rib of Adam. 
The whole sentence is a pretty strong compliment. 
* Sentence, Scan the line. 



6o COMUS 

Shall be unsaid for me. Against the threats 

Of malice, or of sorcery, or that power 

Which erring men call Chance, this I hold firm : 

Virtue may be assailed, but never hurt ; 

Surprised by unjust force, but not enthralled; 590 

Yea, even that which Mischief meant most harm, 

Shall in the happy trial prove most glory: 

But evil on itself shall back recoil, 

And mix no more with goodness ; when, at last, 

Gathered like scum, and settled to itself, 595 

It shall be in eternal restless change 

Self-fed and self-consumed. If this fail, 

The pillared firmament is rottenness, 

And earth's base built on stubble.. But come, let's on! 

Against the opposing will and arm of Heaven 600 

May never this just sword be lifted up; 

But for that damned magician, let him be girt 

With all the grisly legions that troop 

Under the sooty flag of Acheron,^ 

Harpies and hydras,^ or all the monstrous forms 605 

'Twixt Africa and Ind, I'll find him out. 

And force him to return his purchase' back, 

Or drag him by the curls to a foul death, 

Cursed as his life. 

Spir. Alas ! good ventrous youth, 

I love thy courage yet, and bold emprise," 610 

But here thy sword can do thee little stead. 
Far other arms and other weapons must 
Be those that quell the might of hellish charms : 
He with his bare wand can unthread thy joints, 
And crumble all thy sinews. 

^ A river of the lower world. " Harpies were monsters, 
half human, half bird. The hydra was the many headed ser- 
pent killed by Hercules. ^ That taken by force or stealth. 

* Enterprise. 



COMUS 6i 

First Br. Why, prithee, shepherd, 615 

How durst thou then thyself approach so near 
As to make this relation ?"" 

Spir. Care, and utmost shifts 

How to secure the Lady from surprisal, 
Brought to my mind a certain shepherd lad,^ 
Of small regard to see to, yet well skilled 620 

In every virtuous^ plant and healing herb 
That spreads her verdant leaf to the morning ray. 
He loved me well, and oft would beg me sing, 
Which, when I did, he on the tender grass 
Would sit, and hearken even to ecstasy ; 625 

And, in requital, ope his leathern scrip 
And show me simples* of a thousand names, 
Telling their strange and vigorous faculties. 
Amongst the rest, a small unsightly root, 
But of divine effect, he culled me out. 630 

The leaf was darkish, and had prickles on it. 
But in another country, as he said, 
Bore a bright golden flower, but not in this soil ; 
Unknown, and like esteemed," and the dull swain 
Treads on it daily with his clouted shoon f 635 

And yet more medicinal is it than that moly^ 
That Hermes once to wise Ulysses gave. 



^ Narrative, that which is related. ^ Alilton may here have 
in mind his friend. Charles Diodati, who taught him botany 
according to the Latin poem which Alilton wrote on his 
friend's death in 1638. 

' What does the word mean ? * Medical herbs. 

" i.e., t<M-esteemed. 

^ Shoon is the old form of shoes. Clouted may mean 
patched or it may be the equivalent of our hobnail. 

^ The plant by which Ulysses was enabled to resist the en- 
chantments of Circe. 



62 COMUS 

He called it Hsemony/ and gave it me 

And bade me keep it as of sovereign use 

'Gainst all enchantments, mildew blast/ or damp, 640 

Or ghastly Furies' apparition. 

I pursed it up, but little reckoning made, 

Till now that this extremity compelled. 

But now I find it true ; for by this means 

I knew the foul enchanter, though disguised, 645 

Entered the very lime-twigs" of his spells. 

And yet came oft". If you have this about you 

(As I will give you when you go) you may 

Boldly assault the necromancer's hall ; 

Where if he be, with dauntless hardihood 650 

And brandished blade, rush on him, break his glass. 

And shed the luscious liquor on the ground. 

But seize his wand. Though he and his cursed crew 

Fierce sign of battle make, and menace high, 

Or, like the sons of Vulcan,^ vomit smoke, 655 

Yet will they soon retire if he but shrink. 

First Br. Thyrsis, lead on apace. I'll follow thee : — 
And some good angel bear a shield before us. 

The Scene changes to a stately palace, set out with all 
manner of deliciousness; soft music, tables spread 
with all dainties. Com us appears zmth his rabble, 
and The Lady set in an enchanted chair, to zuhom 
he offers Jiis glass, zvhich she puts by, and goes^ 
about to rise. 



^ Hcemony is Milton's invention. It may mean "magic" 
from Hcenionia (the land of magic) a name for Thessaly. 

^ The east wind was supposed to cause mildew. 

^ Snares, twigs smeared with bird-lime for catching birds. 

* In Vergil, VIII, 252-253, Cacus, a son of Vulcan, being 
pursued by Hercules, vomits smoke. ^ Starts, attempts. 



COMUS 



63 



Comus. Nay, Lady, sit. If I but wave this wand 
Your nerves are all chained up m alabaster, tbo 

And you a statue ; or, as Daphne^ was. 
Root-bound, that fled Apollo. 

l^(ly Fool, do not boast ; 

Thou canst not touch the freedom of my mmd 
With all thy charms, although this corporal rmd 
Thou hast immanacled while Heaven sees good. bbS 
Comus. Why are you vexed, Lady? Why do you 
frown ^ 
Here dwell no frowns nor danger; from these gates 
Sorrow flies far. See, here be ^11 the pleasures 
That fancy can beget on youthful thoughts. 
When the fresh blood grows lively, and returns tyo 
Brisk as the April buds in primrose season. 
And first behold this cordial julep" here. 
That flames and dances in his crystal bounds. 
With spirits of balm and fragrant syrups mixed. 
Not that Nepenthes,^ which the wife of Thone, O75 
In Egypt, gave to Jove-born Helena, _ 
Is of such power to stir up joy as this, 
To life so friendly, or so cool to thirst 
Why should you be so cruel to yourself, 
And to those dainty limbs, which Nature lent 680 

For gentle usage and soft delicacy? 
But you invert the covenants of her trust, 

^ Daphne, a nymph pursued by Apollo, was at her own re- 
quest changed into a laurel tree. 

W heart-strengthening, sweet drmk. 

3 Usually written Nepenthe in English. In the Odyssey 
(IV. 219-226) it is defined as "a drug to lull all P^^^^^,^ 
^n^er and bring forgetfulness of every sorrow. Cf. i^oes 
"Raven " The wife of Thone was Polydamia. "Jove-born 
Helena" is Helen of Troy. 



64 COMUS 

And harshly deal, like an ill borrower, 
With that which yon received on other terms ; 
Scorning the unexempt condition 685 

By which all mortal frailty must subsist, 
Refreshment after toil, ease after pain, 
That' have been tired all day without repast. 
And timely rest have wanted. But, fair virgin, 
This will restore all soon. 

Lady. 'Twill not, false traitor ! 690 

'Twill not restore the truth and honesty 
That thou hast banished from thy tongue with lies. 
Was this the cottage and the safe abode 
Thou told'st me of? What grim aspects are these, 
These ugly-headed monsters ? Mercy guard me ! 695 
Hence with thy brewed enchantments, foul deceiver ! 
Hast thou betrayed my credulous innocence 
With visored'^ falsehood and base forgery, 
And wouldst thou seek again to trap me here 
With liquorish^ baits, fit to ensnare a brute? 700 

Were it a draught for Juno* when she banquets, 
I would not taste thy treasonous offer. None, 
But such as are good men, can give good things ; 
And that which is not good is not delicious 
To a well-governed and wise appetite. 705 

Comiis. O foolishness of men, that lend their ears 



^ You who. The antecedent is "who" in line 682. 
/'Wearing a mask. ^ Likerish, tempting the appetite. 
* Wife of Jove and queen of heaven. 



COMUS 65 

To those budge doctors' of the Stoic fur, 

And fetch their precepts from the Cynic tub/ 

Praising the lean and sallow abstinence ! 

Wherefore did Nature pour her bounties forth 710 

With such a full and unwithdrawing hand, 

Covering the earth with odours, fruits, and flocks. 

Thronging the seas with spawn innumerable. 

But all to^ please and sate the curious taste? 

And set to work millions of spinning worms, 715 

That in their green shops weave the smooth-haired silk, 

To deck her sons ; and, that no corner might 

Be vacant of her plenty, in her own loins 

She hutched* the all-worshipped ore and precious gems, 

To store her children with. If all the world 720 

Should, in a pet" of temperance, feed on pulse,* 

Drink the clear stream, and nothing wear but frieze,^ 

The All-giver would be unthanked, and would be 

unpraised, 
Not half His riches known, and yet despised f 
And we should serve Him as a grudging master, 725 
As a penurious niggard of his wealth. 
And live like Nature's bastards, not her sons. 
Who would be quite surcharged with her own weight. 
And strangled with her waste fertility; 
The earth cumbered, and the winged air darked with 

plumes, 730 

* Doctors of philosophy wearing growns trimmed with 
"budge" -i.e., lamb's wool. "Budge" may here have the de- 
rived meaning of "solemn." 

^ A reference to Diogenes, the cynic philosopher, who is said 
to have lived in a tub. The Stoic and Cynic philosophers 
are referred to sneeringly on account of their contempt for 
the pleasures of the senses. ^ Except only to. 

* A hutch was a box. ^ Peevish fit. ® Peas, beans, etc. 

^ Coarse cloth. * And even those which are known, despised. 



66 COMUS 

The herds would over-multitude^ their lords, 

The sea, o'erfraught," would swell, and the unsought 

diamonds 
Would so imblaze the forehead of the deep,'' 
And so bestud* with stars, that they' below 
Would grow inured^ to light, and come at last 735 

To gaze upon the sun with shameless brows. 
List, lady ; be not coy, and be not cozened^ 
With that same vaunted name, virginity. 
Beauty is Nature's coin, must not be hoarded, 
But must be current ; and the 'good thereof 740 

Consists in mutual and partaken bliss. 
Unsavoury in the enjoyment of itself.* 
If you let slip time, like a neglected rose, 
It withers on the stalk with languished head. 
Beauty is Nature's brag, and must be shown 745 

In courts, at feasts, and high solemnities, 
Where most may wonder at the workmanship. 
It is for liomely features to keep home; 
They had their name thence,^coarse complexions, 
And cheeks of sorry grain,^** will serve to ply 750 

The sampler," and to tease" the huswife's" wool. 
What need a vermeils-tinctured lip for that, 

^ Out-number. ^ Over-loaded, i.e., with fishes. 

' The deep may mean the center of the earth. * Supply "it" 
after "bestud." ^ "They" would mean gno}nes if "deep" the 
center of the earth. ^ Accustomed. ' Deceived, cheated. 

* i.e., beauty. ^ This is the second derivation Milton has 
pointed out. Cf . line Z^S- " Of unpleasant color. Cf. "All in 
a robe of darkest grain" II Penseroso ZZ- 

" A sample or pattern of needle-work. 

" To comb wool, to raise the nap of cloth. From these is 
derived our meaning of "irritate." " From "housewife." 
Cf. "hussy." 

^* Vermilion. 



COMUS 67 

Love-darting eyes, or tresses like the morn? 
There was another meaning in these gifts ; 
Think what, and be advised ; you are but young 
yet. 755 

Lady. I had not thought to have unlocked my lips 
In this unhallowed air, but that this juggler 
Would think to charm my judgment, as' mine eyes, 
Obtruding false rules pranked in Reason's garb. 
I hate when \'ice can bolt' her arguments, 760 

And Virtue has no tongue to check her pride. 
Impostor, do not charge most innocent Nature 
As if she would^ her children should be riotous 
With her abundance ; she, good cateress. 
Means her provision only to the good 765 

That live according to her sober laws, 
And holy dictate of spare temperance. 
If every just man that now pines with want 
Had but a moderate and beseeming share 
Of that which lewdly-pampered Luxury 770 

Now heaps upon some few with vast excess. 
Nature's full blessings would be well dispensed 
In unsuperfluous even proportion,* 
And she no whit encumbered with her store: 
And then the Giver would be better thanked, 775 

His praise due paid, for swinish Gluttony 
Ne'er looks to Heaven amidst his gorgeous feast, 
But, with besotted base ingratitude 
Crams, and blasphemes his Feeder. Shall I go on? 
Or have I said enough? To him that dares 780 

Arm his profane tongue with contemptuou.-^ words 
Against the sun-clad power of chastity 

^ Supply "well as" after as. ^ Sift and so refine, make subtle. 

t I I If 

' Wished. * In unsuperfl'us ev'n proportion. 



68 COMUS 

Fain would I something say; yet to what end? 

Thou hast nor ear nor soul to apprehend 

The sublime notion and high mystery 785 

That must be uttered to unfold the sage 

And serious doctrine of virginity, 

And thou art worthy that thou shouldst not know 

More happiness than this thy present lot. 

Enjoy your dear wit, and gay rhetoric 790 

That hath so well been taught her dazzling fence ) 

Thou art not fit to hear thyself convinced : 

Yet, should I try, the uncontrolled worth 

Of this pure cause would kindle my rapt spirits 

To such a flame of sacred vehemence, 795 

That dumb things would be moved to sympathise, 

And the brute^ earth would lend her nerves,^ and shake 

Till all thy magic structures, reared so high, 

Were shattered into heaps o'er thy false head. 

Comns. She fables not. I feel that I do fear 800 
Her words, set ofif by* some superior power ; 
And though not mortal, yet a cold shuddering dew 
Dips me all o'er, as when the wrath of Jove 
Speaks thunder and the chains of Erebus 
To some of Saturn's crew." I must dissemble, 805 
And try her yet more strongly. — Come, no more! 
This is mere' moral babble, and direct 



^ Literally, the art of fencing ; figuratively, skill in arguing. 

' Dumb. ^ Sinews. * Supported by. 

* Proclaims that the punishment of Saturn's followers shall 
be thunder and imprisonment in the place of darkness. The 
Titans were "Saturn's crew." Cf. "While yet there was no 
fear of Jove," II Penseroso, line 30. ® Absolute. 



COMUS 69 

Against the canon-laws of our foundation ;' 

I must not suffer this ; yet 'tis but the lees 

And settings of a melancholy blood. 810 

But this will cure all straight ; one sip of this 

Will bathe the drooping spirits in delight, 

Beyond the bliss of dreams. Be wise, and taste. 

The Brothers rush in with swords drazmi, wrest his 
glass out of his hand, and break it against the 
ground; his rout make sign of resistance, but are 
all driven in. The Attendant Spirit comes in. 
Spir. What, have you let the false enchanter 'scape? 
Oh, ye mistook, ye should have snatched his wand, 815 
And bound him fast. Without his rod reversed, 
And backward mutters of dissevering power, 
We cannot free the lady that sits here 
In stony fetters fixed, and motionless. 
Yet stay, be not disturbed ; now I bethink me, 820 

Some other means I have which may be used ; 
Which once of Meliboeus' old I learnt, 
The soothest' shepherd that e'er piped on plains. 

There is a gentle Nymph, not far from hence. 
That with moist curb* sways the smooth Severn 
stream,^ 825 

Sabrina is her name, a virgin pure : 

^The fundamental laws of our organization. A Canon law 
is one established by a church council. Foundation, a common 
term then and still used, means an endowed institution or the 
endowment itself. Cf. The Carnegie Foundation for Teachers. 

^ Meliboeus is a common name for shepherds in classical 
pastoral poetry. Here it probably means Spenser who was a 
shepherd, i.e., poet, for whom Milton had great respect and 
who tells the story of Sabrina in the "Faerie Queene," 
II, 10, 14. 

' Truest. * The bit by which a horse is guided. ' Ludlow 
Castle was near the Severn. 



70 COMUS 

Whilom' she was the daughter of Locrme, 

That had the sceptre from his father Brute.' 

She, guiltless damsel, flying the mad pursuit 

Of her enraged stepdame, Guendolen, 830 

Commended her fair innocence to the flood 

That stayed her flight with his cross-flowing course. 

The water-nymphs, that in the bottom played, 

Held up her pearled wrists, and took her in. 

Bearing her straight to aged Nereus'^ hall, 835 

Who, piteous of her woes, reared her lank head 

And gave her to his daughters to imbathe 

In nectared lavers," strewed with asphodel;' 

And through the porch and inlet of each sense 

Dropt in ambrosial oils, till she revived, 840 

And underwent a quick immortal change, 

Made goddess of the river. Still she retains 

Her maiden gentleness, and oft at eve 

Visits the herds along the twilight meadows. 

Helping all urchin blasts* and ill-luck signs 845 

That the shrewd^ meddling elf delights to make. 

Which she with precious vialed liquors heals : 

For which the shepherds, at their festivals, 

Carol her goodness loud in rustic lays, 

And throw sweet garland wreaths into her stream, 850 

Of pansies, pinks, and gaudy daffodils. 

^ In olden times. ^ Briitns. the reputed founder of the old 
line of British kings, was supposed to be a descendant of 
Aeneas, son of Anchises the Trojan. 

^ The father of the water nymphs or Nereids. 

* Baths filled with nectar. ^^ A flower that grows in Elysium. 

* Influence of mischievous elves. ' Naughty. 



COMUS 71 

And, as the old swain' said, she can unlock 

The clasping charm and thaw the numbing spell, 

If she be right invoked in warbled song; 

For maidenhood she loves, and will be swift 855 

To aid a virgin, such as was herself. 

In hard-besetting need. This will I try, 

And add the power of some adjuring verse. 

SONG. 

Sabrina fair, 

Listen where thou art sitting 860 

Under the glassy, cool, translucent wave, 

In twisted braids of lilies knitting 
The loose train of thy amber-dropping hair;* 

Listen, for dear honour's sake. 

Goddess of the silver lake,^ 865 

Listen, and save! 

Listen, and appear to us, 
In name of great Oceanus ;* 



^ Meliboeus. ^ Hair dropping yellow water or yellow hair 
dropping water. ' Probably means the Severn River. 

* It will be noticed that the names by which Sabrina is con- 
jured are all those of sea divinities : Oceanus was god of the 
outer sea or ocean stream ; Tethys was his wife ; Proteus, a 
soothsayer, lived on the island of Carpathia and, as shepherd 
of Neptune's flocks, bore a crook; Triton was the "herald of 
the sea ;" Glaucus, a fisherman, was changed into a sea god 
with prophetic powers ; Leucothea, the white goddess, was a 
woman, Ino, who with her son Palemon, was changed into a 
sea divinity ; Thetis, a daughter of Nereus, was the mother of 
Achilles ; Parthenope was one of the Sirens, supposedly buried 
near Naples ; Ligea was another Siren. 



72 COMUS 

And the Carpathian wizard's hook; 

By the earth-shaking Neptune's mace, 

And Tethys' grave majestic pace; 870 

By hoary Nereus' wrinkled look, 

By scaly Triton's winding shell, 

And old soothsaying Glaucus' spell; 

By Leucothea's lovely hands, 875 

And her son that rules the strands; 

By Thetis' tinsel-slippered feet,^ 

And the songs of Sirens sweet ; 

By dead Parthenope's dear tomb, 

And fair Ligea's golden comb,"* 880 

Wherewith she sits on diamond rocks. 

Sleeking her soft alluring locks ; 

By all the nymphs that nightly dance 

Upon thy streams with wily glance ; 

Rise, rise, and heave thy rosy head 885 

From thy coral-paven bed, 

And bridle in thy headlong wave. 

Till thou our summons answered have. 

Listen and save. 

Sabrina rises, attended by JVater-uympJis, and sings. 

By the rushy-fringed bank, 890 

Where grow the willow and the osier" dank, 

My sliding chariot stays. 
Thick set with agate, and the azurn* sheen 
Of turkis^ blue and emerald green 

That in the channel strays ; 895 



^ Homer calls Thetis "silver-footed." By "tinsel" Milton 
means "silvery." ^ Compare Die Lorelei. ^ The water willow. 

* Azure. ^ Turquoise. 



COMUS 7^ 

Whilst from off the waters fleet 
Thus I set my printless feet 
O'er the cowshp's velvet head, 

That bends not as I tread. 
Gentle Swain, at thy request, 9^0 

I am here. 

Spir. Goddess dear, 
We implore thy powerful hand 
To undo the charmed band 

Of true virgin here distressed 9^5 

Through the force and through the wile 
Of unblessed enchanter vile. 

Sabr. Shepherd, 'tis my offiec best 

To help ensnared chastity. 

Brightest Lady, look on me. 9^0 

Thus I sprinkle on thy breast 

Drops that from my fountain pure 

I have kept, of precious cure; 

Thrice upon thy finger's tip, 

Thrice upon thy rubied lip: 9^5 

Next this marble venomed seat, 

Smeared with gums of glutinous heat,' 

I touch with chaste palms, moist and cold. 

Now the spell has lost his hold ; 

And I must haste, ere morning hour, 920 

To wait in Amphitrite's' bower. 

Sabrina descends, and the Lady rises out of her seat. 

Spir. A^irgin, daughter of Locrine, 
Sprung of old Anchises' line," 

' Sticky, or gluey, when heated. ' Wife of Neptune. 
' See note on line 828. 



74 COMUS 

May thy brimmed waves for this 

Their full tribute never miss 925 

From a thousand petty rills, 

That tumble down the snowy hills ; 

Summer drought, or singed air. 

Never scorch thy tresses fair, 

Nor wet October's torrent flood 930 

Thy molten crystal fill with mud ; 

May thy billows roll ashore 

The beryl and the golden ore ; 

May thy lofty head be crowned 

With many a tower and terrace round, 935 

And here and there thy banks upon 

With groves of myrrh and cinnamon/ 

Come, Lady, while Heaven lends us grace, 
Let us fly this cursed place. 

Lest the sorcerer us entice 940 

With some other new device. 
Not a waste or needless sound. 
Till we come to holier ground. 
I shall be your faithful guide 
Through this gloomy covert wide ; 945 

And not many furlongs thence 
Is your father's residence, 
Where this night are met in state 

^ This passage seems confused because Milton speaks of the 
"lofty head" and thinks of the banks of the stream. "Round" 
is probably an adverb modifying "crowned." The last two 
lines probably mean : "And may thy lofty head be crowned, 
here and there upon thy banks, with groves, etc." 



COMUS - 7S- 

Many a friend to gratulate' 

His wished presence; and beside 95<> 

All the swains, that there abide, 

With jigs' and rural dance resort. 

We shall catch them at their sport. 

And our sudden coming there 

Will double all their mirth and cheer : 95S 

Come, let us haste, the stars grow high. 

But night sits monarch yet in the mid sky. 

The scene changes, presenting Ludlow Tozvn and the 
President's Castle; then come in Country Dancers; 
after them the Attendant Spirit, zvith the two- 
Brothers and The Lady. 

SONG 

Spir. Back, shepherds,' back ! Enough your 
play 
Till next sunshine holiday. 

Here be, without duck or nod," 900 

Other trippings to be trod 
Of lighter toes, and such court guise 
As Mercury' did first devise 
With the mincing Dryades," 
On the lawns, and on the leas. 9^5 

^ Welcome, rejoice in. 

^ A jig was originally music, vocal or instrumental and may 
be so used here. Later it meant a dance. 

'The shepherds are dancing when the spirit and the chil- 
dren enter. This constitutes the second so-called anti-niasque^ 
This is followed, after the spirit's second song, by a more 
courtly dance, "other trippings," in which the spectators prob- 
ably take part. 

* That is. without the rustic salutes of the first dance. 

^The herald of the gods and a deviser of new things, the 
god of invention. ' Wood nymphs. 



76 COMUS 

This second Song presents tJiem to tJieir FatJier and 

Mother. 

Noble Lord, and Lady bright, 
I have brought ye new deUght. 
Here behold so goodly' grown 
Three fair branches of your own ; 
Heaven hath timely' tried their youth, 970 

Their faith, their patience, and their truth, 
And sent them here, through hard assays, 
With a crown of deathless praise, 
To triumph in victorious dance 
O'er sensual folly and intemperance. 975 

The dances ended, the Spirit epilogiscs 
Spir. To the ocean now I fly, 
And those happy climes that lie 
Where day never shuts his eye. 
Up in the broad fields of the sky. 
There I suck the liquid air, 980 

All amidst the gardens fair^ 
Of Hesperus and his daughters three 
That sing about the golden tree. 
Along the crisped shades and bowers 
Revels the spruce^ and jocund Spring, 985 

The Graces'* and the rosy-bosomed Hours* 
Thither all their bounties bring. 
There eternal Summer dwells. 
And west-winds, with musky wing, 
About the cedarn alleys fling 990 

Nard and cassia's^ balmy smells. 



* Handsome. ^ In good time, early. ^ See note on line 393. 

* Daintily appareled. ^ See L' Allegro, line 15. 

' The goddesses of the seasons. ^ Aromatic plants mentioned 
in the Bible. 



COMUS n 

Iris' there, with humid bow, 
Waters the odorous banks, that blow' 
Flowers of more mingled hue 
Than her purfled' scarf can show ; 99S 

And drenches with Elysian dew 
(List, mortals, if your ears be true) • 
Beds of hyacinth and roses 
Where young Adonis' oft reposes, 
Waxing well of his deep wound looo 

In slumber soft, and on the ground 
Sadly sits the Assyrian queen. 
But far above in spangled sheen, 
Celestial Cupid,' her famed son, advanced, 
Holds his dear Psyche sweet entranced, 1005. 

After wandering labours long. 
Till free consent the gods among 
Make her his eternal bride. 
And from her fair unspotted side ^ 
Two blissful twins are to be born,* lOiO' 

Youth and Joy ; so Jove hath sworn. 
But now my task is smoothly done, 
I can fly or I can run 

^Goddess of the rainbow. ^ Bloom with. ^Embroidered. 

*A youth beloved of Venus who was worshipped by the 
Assyrians under the name of Ashtaroth. Adonis was mortally 
wounded by a wild boar. The myth was of Eastern ongm ; 
hence the term "Assyrian queen." 

' The o-od of love who wedded Psyche, a beautiful maiden. 
Venus opposed the union and imposed "wandermg labors long 
upon Psyche, who symbolizes the human soul. 

« This offspring of Cupid and Psyche is Milton's invention. 



78 COMUS 

Quickly to the green earth's end, 

Where the bowed welkin' slow doth bend, 1015 

And from thence can soar as soon 

To the corners of the moon. 

Mortals, that would follow me, 
Love Virtue ; she alone is free. 
She can teach ye how to climb 1020 

Higher than the sphery chime ;^ 
Or if Virtue feeble were. 
Heaven itself would stoop to her." 

^ Arched sky. ^' The chiming or musical spheres. 

' The last six lines summarize the theme of the poem. 
Learn them by heart. 



LYCIDAS 

[For most persons, Lycidas is a very difificult poem to 
understand, so a few preliminary words of explanation may 
not come amiss. In form, Lycidas is a pastoral elegy, that is, 
a poem lamenting the dead in language literally applicable to 
shepherd (pastoral) life. It is a highly specialized literary 
form, and is apt to seem to us rather formal and artificial. 
This apparent artificiality may be partly due to the fact that 
pastoral elegy is not a native English form of poetry. It 
was first used by classical poets, chiefly Theocritus among the 
Greeks and Vergil among the Romans; and all modern ex- 
amples are more or less direct imitations of these ancient 
authors, so they sometimes seem to lack spontaneity. A second 
•cause of the apparent artificiality of the pastoral elegy is the 
"conventions," i.e., the regular rules or ways of doing things, 
of the form itself. In the first place, the persons spoken of 
are not given their real names but names common to shepherds 
•or country people, such as Corydon, Thyrsis, Lycidas ; and their 
work is spoken of as if it were the tending of sheep or the 
following of some other rural occupation. This makes the 
poem seem remote from real life and real sorrow. In the 
second place, there were certain regular features of a pastoral 
elegy: usually it began with an invocation of the Muse, in- 
troduced various forces of nature and supernatural beings as 
mourners, and at the close changed from lament into a some- 
what more hopeful strain. The introduction of unreal mourn- 
ers tends to make the whole poem seem to us artificial. 

It may be interesting to note some of the reasons why 
Milton used this poetic form. Lie wished to write a lament 
for the death of his college friend, Edward King, a learned 
young man who was preparing for the ministry and who, as 
Milton tells us, was himself a poet. All learned men at that 
time read and wrote Latin and Milton was a great classical 
student. In lamenting a learned man, he might naturally 
have used the Latin language (Milton wrote several Latin 
poems). He preferred the English but it is not surprising 
that he followed a learned, i.e., classical, example. Again, 
there is a special fitness in the pastoral form in referring to 
Edward King for two reasons : First, because King and 
Milton were both poets and it was customary to speak of 
poets as shepherds (Cf. Old Melibceus, i.e., Chaucer, "The 
soothest shepherd," in Comus, lines 822-23) ; and second, 
because a Christian minister is often referred to as a shep- 
herd ; indeed our word "pastor" is simply the Latin word 
for shepherd. 

So we may perhaps see why Milton used the somewhat 
formal pastoral elegy to lament the death of his friend and 
"by occasion" or as we say, incidentally, to express his opinion 
on church affairs. But even with these general facts under- 
stood, Lycidas is still a difficult poem to understand. The 
outline in the back of the book may assist the student in 
getting hold of its form and meaning.] 



LYCIDAS 



Yet once more, O ye laurels, and once more, 

Ye myrtles brown, with ivy never sere, 

I come, to pluck your berries harsh and crude, 

And with forced fingers rude 

Shatter your leaves before the mellowing year/ 5 

Bitter constraint and sad occasion dear^ 

Compels me to disturb your season due f 

For Lycidas is dead, dead ere his prime, 

Young Lycidas, and hath not left his peer. 

Who would not sing for Lycidas? He knew, 10 

Himself to sing, and build the lofty rhyme. 

He must not float upon his watery bier 

Unwept, and welter* to the parching wind 

Without the meed^ of some melodious tear. 

Begin, then, Sisters of the sacred welf 15 

That from beneath the seat of Jove doth spring; 
Begin, and somewhat loudly sweep the string ; 
Hence with denial vain, and coy excuse. 
So may some gentle Muse' 

With lucky words favour my destined urn. 20 

And, as he passes, turn, 
And bid fair peace be to my sable shroud ! 



^ He comes once more to pluck berries for a funeral wreath, 
i.e., he again takes up poetry, though feeling unprepared to 
lament the death of his friend. " Touching closely. 

^ Proper season. * Toss about. ^ Benefit, recompense. 

' The Muses, who haunted the Pierian Spring at the base 
of Alt. Olympus. ' Poet. 

80 



LYCIDAS 8i 

For we were nursed upon the self-same hill/ 
Fed the same flock, by fountain, shade, and rill. 
Together both, ere the high lawns appeared 25 

Under the opening eyelids of the morn. 
We drove' a-field, and both together heard 
What time' the gray-fly winds her sultry horn, 
Battening^ our flocks with the fresh dews of night, 
Oft till the star that rose at evening bright 30 

Toward heaven's descent had sloped his westering 

wheel. 
Meanwhile the rural ditties were not mute,^ 
Tempered® to the oaten flute; 
Rough satyrs danced, and fauns with cloven heef 
From the glad sound would not be absent long; 35 
And old Damoetas* loved to hear our song. 

But, oh ! the heavy change, now thou art gone, 
Now thou art gone and never must return ! 
Thee, Shepherd, thee the woods, and desert caves. 
With wild thyme and the gadding vine o'ergrown, 40 
And all their echoes, mourn. 
The willows, and the hazel copses green, 
Shall now no more be seen 
Fanning their joyous leaves to thy soft lays. 
As killing as the canker' to the rose, 45 

Or taint-worm to the weanling^" herds that graze, 

^ Cambridge University. ^ Supply "our flocks." ^ When. 

* Fattening. ' That is, they wrote poetry. ® Attend. 

^ The satyrs of the Greeks and fauns of the Romans were 
sportive divinities of the fields and woods, half men. half 
goats. Here they represent the students of the university. 

^ A conventional pastoral name like Lycidas. Here it seems 
to refer to someone in authority at Cambridge, possibly 
Milton's old tutor, Chappell. 

" The canker worm. ^^ Tust weaned. 



82 LYCIDAS 

Or frost to flowers that their gay wardrobe wear, 

When first the white-thorn blows ; 

Such, Lycidas, thy loss to shepherd's ear. 

Where were ye, Nymphs,' when the remorseless 
deep 50 

Closed o'er the head of your loved Lycidas? 
For neither were ye playing on the steeps 
Where your old bards, the famous Druids, lie, 
Nor on the shaggy top of Mona^ high, 
Nor yet where Deva* spreads her wizard stream. 55, 
Ah me ! I fondly' dream 

''Had ye been there". . . for what could that have done? 
What could the Muse* herself that Orpheus bore, 
The Muse herself, for her enchanting son 
Whom universal nature did lament, 60 

When by the rout that made the hideous roar 
His gory visage down the stream was sent, 
Down the swift Hebrus to the Lesbian shore ?^ 

Alas ! what boots* it with incessant care 
To tend the homely, slighted shepherd's trade,* 65. 
And strictly meditate'" the thankless" Muse? 

^ The Muses. ^ Milton probably had in mind some mountain 
in Wales, the reputed burial place of the Druids. 

^ The Latin name for the island of Anglesey off the north- 
west coast of Wales. 

* The famous river Dee. It was thought to be a haunt of 
magicians ; hence "wizard stream." ■* Foolishly. 

* Calliope, the muse of epic poetry. 

^ The Thracian women who tore Orpheus to pieces for his 
contempt of them after the loss of Eurydice. His limbs were 
thrown into the Hebrus river and his head borne to the 
island of Lemnos. 

* Profits. * Wrhe poetry. " Practice. 

" Unprofitable from a worldly point of view. 



LYCIDAS 83. 

Were it not better done, as others use/ 

To sport with AmarylHs in the shade, 

Or with the tangles of Neaera's hair?^ 

Fame is the spur that the clear spirit doth raise 70 

(That last infirmity of noble mind)' 

To scorn delights and live laborious days ; 

But the fair guerdon when we hope to find,* 

And think to burst out into sudden blaze, 

Comes the blind Fury^ with the abhorred shears 75 

And slits the thin-spun life. "But not the praise,'" 

Phoebus' replied, and touched my trembling ears f 

"Fame is no plant that grows on mortal soil. 

Nor in the glistening foif 

Set off to the world, nor in broad rumour lies, 8o- 

But lives and spreads aloft by those pure eyes 

And perfect witness of all-judging Jove; 

As he pronounces lastly on each deed, 

Of so much fame in heaven except thy meed." 

^ Are accustomed to. 

^ Amaryllis and Neaera were common names for shepherd- 
esses in classical lore and pastoral poetry. Figuratively the 
passage probably means : "Were it not better to indulge in a 
life of sensual pleasure?" 

^ The desire for fame is the last weakness to be overcome. 

* But when we hope to find the fair reward. 

' Fury probably means Fate. There were three Fates. 
Atropos was the one which cut off the thread of life which 
Clotho spun and Lachesis drew out. 

* Cuts off the life ; but does not cut off or destroy the 
praise. ' Apollo, god of poetry. 

* The passage seems to be an imitation of Vergil. The ears 
were touched as the- seat of memory, to recall something to 
mind ; and the "trembling" was caused by excitement at the 
god's presence. 

^Gold or silver leaf used to "set off" or bring out the 
brilliance of jewels. The phrase modifies "lies." The meaning 
seems to be that fame does not consist in showy achievements 
exhibited to the world. • . 



84 LYCIDAS 

O fountain Arethuse, and thou honoured flood, 85 
Smooth-sHding Mincius," crowned with vocal reeds, 
That strain I heard was of a higher mood ;' 
But now my oat proceeds/ 
And Hstens to the Herald* of the sea 
That came in Neptune's plea/ 90 

He asked the waves, and asked the felon winds. 
What hard mishap hath doomed this gentle swain? 
And questioned every gust, of rugged wings. 
That blows from off each beaked promontory: 
They knew not of his story; 95 

And sage Hippotades' their answer brings, 
That not a blast was from his dungeon strayed, 
The air was calm, and on the level brine 
Sleek Panope^ with all her sisters played. 
It was that fatal and perfidious bark, 100 

Built in the eclipse/ and rigged with curses dark. 
That sunk so low that sacred head of thine. 

Next, Camus,^ reverend sire, went footing slow, 

^ Arethusa, a fountain in Sicily, stands for Theocritus and 
the other Sicilian pastoral poets; Mincius, a river of northern 
Italy near which Vergil was born, stands for the great Roman 
poet. 

* Mood does not mean "state of mind" but "mode" or kind 
of music. Phoebus's speech was a higher kind of music than 
the usual pastoral poetry of Theocritus and Vergil. 

^ i.e., I go on in the pastoral strain. 

* Triton, Neptune's trumpeter. Cf . Comus, line 873. 
^ Probably means : Came in Neptune's defense. 

* Aeolus, the god of the winds. 

^ One of the daughters of Nereus. * Referring to the belief 
that things built during an eclipse would meet disaster. 

® The river Cam. representing Cambridge University. 



LYCIDAS 85 

His mantle hairy/ and his bonnet sedge' 

Inwrought with figures dim and on the edge 105 

Like to that sanguine flower inscribed with woe/ 

"Ah ! who hath reft," quoth he, "my dearest pledge !" — 

Last come, and last did go, 

The Pilot of the Galilean Lake/ 

Two massy keys he bore, of metals twain, no 

(The golden opes, the iron shuts amain,) 

He shook his mitred^ locks, and stern bespake : 

"How well could I have spared for thee, young swain, 

Enow of such as, for their bellies' sake. 

Creep, and intrude, and climb into the fold! 115 

Of other care they little reckoning make 

Than how to scramble at the shearers' feast* 

And shove away the worthy bidden guest. 

Blind mouths !^ that scarce themselves know how to 

hold 
A sheephook, or have learned aught else the least 120 

^ i.e., with river grass. ' His cap of coarse grass. 

' The bloody flower is the hyacinth. The marks on the 
leaves were supposed to resemble the Greek words "alas, alas." 
Hyacinth was a beautiful Spartan youth, beloved of Apollo 
and accidentally killed by him. He was transformed into a 
flower whose markings suggested the story of the tragedy. 

* Saint Peter. Cf. Mathew XVI rig. "And I will give unto 
thee the keys of the kingdom of heaven." The difference in 
the metal and in the uses of the keys is Milton's invention. 

^Wearing a mitre or bishop's cap. 

* For material profit to themselves. The feast of the sheep 
shearers represents the positions of profit in the church. 

^ A famous expression, on which Ruskin in Sesame and 
Lilies has a famous comment. It is a very strong expression 
describing those who care only for material gain. Clergy- 
men should guide and feed, not be blind devourers. 



86 LYCIDAS 

That to the faithful herdsman's art belongs !^ 

What recks it them?" What need they? They are 

sped f 
And, when they list,* their lean and flashy songs 
Grate on their scrannef pipes of wretched straw : 
The hungry sheep look up, and are not fed, 125 

But, swoln with wind and the rank mist they draw,* 
Rot inwardly, and foul contagion spread ; 
Besides what the grim wolf,^ with privy paw. 
Daily devours apace, and nothing' said. 
But that two-handed engine at the door 130 

Stands ready to smite once, and smite no more."* 

* Know nothing about the duties of a true shepherd, i.e., 
clergymen. 

'What matters it to them? ^ Have succeeded. * Please. 

' Thin. The whole passage means that these unworthy 
clergymen preach unspiritual, insipid sermons. Flashy does 
not mean "showy." 

' The "wind" and "mist" are the empty words of the 
preacher. ^ The Church of Rome. * Supply is. 

* No one knows just what Milton meant by the "two-handed 
engine" i.e., an instrument (of any sort) requiring two hands 
to wield it. He may have meant the sword of Justice, or the 
two houses of Parliament, or the '*two-edged sword" of 
Re\ elation, or the ax that beheaded Archibishop Laud. At 
least, he felt some awful retribution was at hand. Within 
five years after this poem was written the highest official of 
the English church, Archibishop Laud, had been beheaded by 
Parliament and the Civil War had begun. It will add im- 
mensely to the interest of this famous passage to remember 
that Milton is describing the conditions in the English Church 
which caused the great Puritan immigration to New England 
between 1630 and 1640. 



LYCIDAS 87 

Return, Alpheus/ the dread voice is past, 
That shrunk thy streams ; return, Sicilian Muse, 
And call the vales, and bid them hither cast 
Their bells and flowerets of a thousand hues. 135 

Ye valleys low, where the mild whispers use^ 
Of shades, and wanton winds, and gushing brooks, 
On whose fresh lap the swart star^ sparely looks, 
Throw hither all your quaint enamelled eyes* 
That on the green turf suck the honeyed showers, 140 
And purple^ all the ground with vernal flowers. 
Bring the rathe^ primrose that forsaken^ dies. 
The tufted crow-toe, and pale jessamine, 
The white pink, and the pansy freaked with jet. 
The glowing violet, 145 

The musk-rose, and the well-attired woodbine, 
With cowslips wan that hang the pensive head, 
And every flower that sad embroidery wears ; 
Bid amaranthus all his beauty shed. 
And daffodillies fill their cups with tears, 150 

To strew the laureate hearse^ where Lycid lies. 

^ A river in the Peloponnesus in Greece, the lover of the 
fountain Arethusa. As Milton mentioned the latter after 
his first digression, so he mentions Alpheus after his second 
digression. 

* Have their haunt. "* Sirius, the Dog Star, the star that 
makes vegetation swart or black. "Dog Days" is the period 
during which Sirius rises and sets with the sun. 

* Curiously colored flowers. 

' This is almost certainly an imperative like "throv/" above. 

* Early. The positive from which comes our comparative 
form rather. 

'Why forsaken? By the sunlight or by people? 

* Hearse here means the platform on which the coflin rested. 
Laureate, i.e., laurel-crowned, refers to the practice of fasten- 
ing memorial verses to the hearse. 



88 LYCIDAS 

For so, to interpose a little ease, 

Let our frail thoughts daily with false surmise — ' 

Ah me ! whilst thee the shores and sounding seas 

Wash far away, where'er thy bones are hurled, 155 

Whether beyond the stormy Hebrides,'' 

Where thou, perhaps under the whelming tide, 

Visit'st the bottom of the monstrous' world ; 

Or whether thou, to our moist vows denied, 

Sleep'st by the fable of Bellerus old,* 160 

Where the great Vision of the guarded mount^ 

Looks toward Namancos and Bayona's hold :' 

Look homeward, Angel,' now, and melt with ruth ;' 

And, O ye dolphins, waft the hapless youth.* 

Weep no more, woeful shepherds, weep no more, 165 
For Lycidas, your sorrow, is not dead. 
Sunk though he be beneath the watery floor. 
So sinks the day-star in the ocean-bed, 
And yet anon repairs his drooping head. 
And tricks his beams, and, with new spangled ore. 170 
Flames in the forehead of the morning star. 
So Lycidas sunk low, but mounted high, 

^ He remembers he is simply fancying they are burying Ly- 
cidas. " Islands of the west coast of Scotland. 

inhabited by monsters. What does the word mean? 

■* The fabled abode of old Bellerus, i.e., Land's End, called 
Bellcrium by the Romans. The extreme southwestern point 
of England. 

^ The vision is the x\rchangel, St. Michael, supposed to guard 
a steep rock called St. Michael's Mount and to appear at 
times in a craggy seat known as St. Michael's chair. 

* These are places in Spain, near Cape Finisterre. Hold 
means "stronghold" or castle. '' St. Michael.^ * Pity. 

'An allusion to the story of Arion, who, thrown overboard 
by sailors, was borne ashore by dolphins previously attracted 
by his sweet music. 



LYCIDAS 89 

Through the dear might of Him that walked the 

waves/ 
Where, other groves and other streams along, 
With nectar pure his oozy locks he laves, I75 

And hears the unexpressive nuptial song' 
In the blest kingdoms meek of joy and love. 
There entertain him all the Saints above, 
In solemn troops and sweet societies 
That sing,, and, singing, in their glor}^ move, 180 

And wipe the tears for ever from his eyes. 
Now, Lycidas, the shepherds weep no more; 
Henceforth thou art the genius* of the shore. 
In thy large recompense,' and shalt be good 
To all that wander in that perilous flood. 185 

Thus sang the uncouth swain to the oaks and rills, 
While the still morn went out with sandals gray^; 
He touched the tender stops of various quills,* 
With eager thought warbling his Doric lay ;' 
And now the sun had stretched out all the hills,' 190 
And now was dropt into the western bay ; 
At last he rose, and twitched his mantle blue: 
To-morrow to fresh woods and pastures new." 

^The account of Christ's walking on the water may be 
found in Mathew XVI :22 and followmg 

^'The inexpressible marriage song. The reference is to 
Revelation XIX where is described the scene m heaven at 
the marriage of the Lamb. , ,, • n 

^Cf Revelation VII :i7: "And God shall wipe away all 
tears from their eyes." , , 

* Guardian Spirit, ^\s a great reward for all he had 

'"''^^hrswps are the openings in the reeds (quills). It means 

he expressed various feehngs. c:^:i:^„ na<;tnral 

'Doric lay here means pastoral song. The Sicilian pastoral 
poets wrote in the Doric dialect. 

* Lengthened the shadows, of course. 

«This has become proverbial to indicate takmg up a new 
subject. Milton may possibly have had in mind his coming 
travels. 



MILTON'S SPELLING 



It must be clearly understood by the pupil that the 
spelling used in this edition is not that used by Milton. In 
his time, many words were habitually or frequently spelled 
differently than at present. In this text Milton's spelling 
has been modernized almost completely. Except in a few 
cases, such as asurn, where the form of the word was dif- 
ferent, all his spellings are modernized. It seems a mistake, 
to the present editor, to retain such spellings as oughly 
(ugly) and asphodil and not retain such as beauiifull; for 
ihen the pupil may suppose he sees all the words spelled as 
Milton spelled them. So it has seemed better to modernize 
all words and to insert the following lines in the spelling of 
the first edition of Comus to show how Milton really spelled, 
or at least how his printer spelled. The old punctuation is 
also worth noting. 

COMUS (lines 593-607) 

But evill on it felfe fhall backe recoyle 

And mixe no more with goodneffe, when at laft 

Gather'd like fcum, and fettl'd to it felfe 

It fhall bee in eternall reftleffe change 

Selfe fed, and felfe confum'd, if this faile 

The pillar'd firmament is rottenneffe. 

And earth's bafe built on ftubble. But come let's on 

Againft ta' oppofing will and arme of heav'n 

May never this juft fword be lifted up, 

But for the damn'd magician, let him be girt 

With all the greifly legions that troope 

Under the footie flag of Acheron, 

Harpyies and Hydra's, or all the monftrous bugs 

'Twixt Africa, and Inde, He find him out 

And force him to reftore his purchafe backe 



90 



SUGGESTIVE QUESTIONS 

[to the teacher. 

These questions are not intended to be exhaustive ; nor is 
inebc que ^^ ^ ^^^ teacher. 

Jound usef™ in bringing out the pupil's understanding of the 
subject matter.] 

milton's life and works 
I How did the fact that Milton's ^boyhood was spent in a 

. wSn^Vl^n^ :;:^di;Sn of h. parents and how 

did this affect his education r ^^ 

. What university did he attend and why 

• F.;;;^:rtTerioiref hir^.rnSS di.de itseU. 
What kind of works in each perioa. 

6 Xame the works of each period, tell the ,fe,nd each one is, 

eTplain the Htle^ and tell the subject ot each one. 

7 Show that Milton had a real devotion for liberty 

8 Why wasn't Milton buried in Westminster Abbey? 

l'\llegro and il penseroso 

The following questions will help. ^ 
I ^^l-'t f s^^d^^VM^olyTthe first ten lines 
of UAUegro? About Joy m same lines of H 

c ''whoTere parents of Mirth? Of Melaricholy? 
I How does Mirth come? How Me ancho ly 
e Who are the companions of Mirth ^ Ut \iemncno y 
f' iiTcn does the Social Man's day begin? The Soli 

g.'^Vto'bird does the Social Man hear' The Solitary 

h ^ What evening sound corresponds to the crowing of 

i. ' WhaTVvening sound corresponds to the hounds and 

j ''\rhere does the Social Man spend the evening? 
The Solitary Man? ^^ 



92 SUGGESTIVE QUESTIONS 

k. What kind of plays does the Social Man enjoy? 
1. What kind of music does he hear? 

4. Compare the closing lines. Which does Milton seem to 

prefer, Mirth or Melancholy? 

5. Tell the story of Philomel. Of Orpheus. 

6. Explain 

(a) "cynosure." 

(b) "tale of Troy divine." 

(c) "him who left half-told 

The story of Cambuscan bold." 

(d) "Where more is meant than meets the ear." 

(e) "If Jonson's learned sock be on." 

(f) "linked sweetness long drawn out." 

(g) "Storied windows richly dight 
Casting a dim religious light." 

(h) "the drudging goblin." 

LYCIDAS 

1. Where did Milton get this title? To whom was the name 

Lycidas originally applied and why was it a fitting title 
for a poem on Edward King? 

2. Make an outline of the poem similar to the one in the 

text and justify the outline by explaining the meaning 
of the lines corresponding to each division of the outline. 

3. Why is fame called the "last infirmity of noble mind?" 

4. What were the historical events which caused Milton's 

outburst against the Church of England? 

5. Explain fully "Blind mouths." 

6. Who is supposed to be speaking up to line 186? Who 

from there to the end? 

7. Explain : "He touched the tender stops of various quills." 

COMUS 

1. What kind of a drama is Comiisf 

2. State six characteristics of the masque. 

3. Point out illustrations of each of these characteristics in 

Comus. 

4. What is the theme of Comus? 

5. By whom is it first stated? 

6. By whom is it most fully stated? 

7. What is Comus's philosophy of life? 

8. Tell the story of Comus's life. Of Sabrina's. 

9. In whose name is Sabrina called upon? 

10. How do the closing lines give unity to the poem? 

11. Comus may be said to consist of three scenes. Locate 

each scene and tell what takes place in it. 



OUTLINE FOR L'ALLEGRO 93 

I. Introduction. Dismissal of Melancholy (11. i-io). 

1. Parentage (i. ? 

(2. ? 

2. Birthplace ( .■' 

Place of banishment ( ? 

II. Invitation to Mirth (11. 11-24). 
I. Parentage. 

a. (i. ? 
(2. ? 

b. (I. ? 
(2. ? 

III, Companions of Mirth (11. 24-40). 

1. Who they are (i, 2, 3, 4, 

(5, 6, 7, 8, 
(9, 10, II. 

2. How Mirth comes ( ? 

IV. Pleasures afforded by ]\Iirth — An Ideal Round of 
Pleasures (11. 41-150). 

1. Morning Pleasures (11. 41-68). 

a. Sounds (i, 2, 3, 

(4, 5, 6. 

b. Sights (i. 

(2. 

2. Mid-day Pleasures (11. 69-99). 

(i. Landscape (i, 2, 3, 4, 5, 6. 

a. Sights (2. People working (i. 

(3. People playing ( 

( 

b. Sounds ( 

3. Evening Pleasures HI. 100-150). 

a. Early evening, in countrv (11. 100-116). 

(I. 
I. Folk Tales (2. 

b. Later evening, in the city (11. 11 7-1 50), 

1. Masques (i. 

2. Comedies (i. 

(2. 

3. Concerts ( 

( 

V. Conclusion (11. 151-152). 

I. L'Allegro's decision ( 

( 



94 OUTLINE FOR IL PEXSKROSO 

I. Introduction. Dismissal of Joys (11. i-io), 

1. Parentage ( 

2. Place of banishment ( 

II. Invitation to Melancholy (11. 11-44). 

1. Appearance ( 

2. Parentage (i. 

(2. 

3. Manner of coming ( 

III. Companions of Melancholy (11. 45-55). 

I. Who they are (l, 2, 3, 
(4, 5, 6. 

IV. Pleasures Afforded by Melancholy. — An Ideal Round of 
Pleasures (11. 56-174). 

1. Early evening pleasures (11. 56-76). 

a. Outdoors 

1. Sounds (l. 

(2. 

2. Sight ( 

b. Indoors 

1. Sounds (i. 

(2. 

2. Sight ( 

2. Later evening pleasures (11. 77-120). 

a. Reading philosophy (i. 

(2. 

b. Reading poetrv 

(I- 

1. Dramatic (2. 

(3. 

2. Lyric (i. 

3. Narrative (i. 

(2. 

3. Morning pleasures (11. 121-154). 

a. Kind of morning ( 

b. How the time is spent ( 

4. Afternoon pleasures (11. 155-166). 

a. Where time is spent ( 

b. How spent ( 

5. Pleasures of old age (11. 167-174). 
V. Conclusion (11. 175-176). 

II Penseroso's decision ( 

( 



LYCIDAS. 



OUTLINE 



11. I-14. Introduction : Occasion for writing the poem. 

Milton says that aUhough he is as yet unpre- 
pared to write great poetry, still he must celebrate 
in verse his friend, King, who was himself a poet. 
11. 15-22. Invocation to the Muse. 

He asks the goddess of poetry to assist him 
to do his best, so that some later poet may lament 
his, i.e., Milton's death. 
11. 23-36. Early life of the friends. 

Milton tells how he and King studied together 
and wrote poetry while at college. 
11. 37-49. The blighting effect of King's death. 

The woods and caves mourn his absence ; 
nature no longer rejoices in his presence. 
11. 50-63 The Nymphs are reproached for his death. 

The water nymphs must have been absent 
when he was drowned, though even they would 
have tried in vain to save him. 
11. 64-84 First Digression : On Fame as the poet's reward. 

He wonders if it is worth while to be tem- 
perate in order to win fame by writing poetry! 
Might it not be better to indulge oneself fully? 
But Apollo reminds him that true fame is the 
approval of Heaven. 
11. 85-112. Triton, Camus and St. Peter explain and lament. 

First Triton comes and explains that the sea 
divinities are not to blame for King's death : it 
was the fault of the ship. 

Then the River Cam, symbolizing Cambridge 
University, passes by lamenting the death of a 
brilliant student. 

Lastly St. Peter, representing the Christian 

Church, comes, laments the loss of a promising, 

minister and bitterly denounces the corruption of 

the English church. 

11. 112-131 Second Digression, On the corruption in the church. 

The church officials care only for their own 
advancement and pleasure, and neglect their people, 
who suffer from lack of teaching within the church 
and attacks of enemies without. 

95 



'R 3 I9a 



96 LYCIDAS 

11. 132-164. Flowers for Lycidas's tomb. 

The fields are bidden to bring all their flowers 
to deck Lycidas's tomb, though really his body is 
beneath the sea. 
11. 165-185. Lycidas's happiness in Heaven. 

Though his body sank beneath the water, still 
his soul is in Paradise and he has become a sort 
of guardian spirit. 
11. 186-193. Conclusion. 

The poet changes the mental point of view, 
and speaks of himself in the third person. He 
has expressed various feelings in his poem and 
is now about to turn to other subjects. 



LIBRARY OF CONGRESS 



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